Tamberlik, the Leporello of Formes, and the Commendatore of Tagliafico. The "Il mio tesoro was a specimen of singing to which the term faultless can only with justice be applied. It was encored with acclamations; and, after the repetition, Signor Tamberlik was again summoned to appear. The rest of his performance was distinguished by invariable care and earnestness of purpose. The Leporello of Herr Formes is the only true Leporello that has been seen upon the Italian stage. He does not attempt to raise laughter, through the medium of amusing buffoonery, in the last scene at once the most terrible and the most transcendant in dramatic music-but he represents what Mozart intended to be represented. Like Sancho, at the death of Don Quixote, Leporello, when his master is inevitably in the power of the fiend, thinks only of himself. The old spell is no longer irresistible. The slave stands trembling and unnerved in the presence of that supernatural influence, and the instant that Don Giovanni, in reply to the words of the statue "Dammi la mano in pegno "—gives his hand, Leporello, having no longer a control over himself, abandons his old companion to his fate. The whole of this scene was superbly acted by Herr Formes; and his sudden exit was in the highest degree dramatic and effective. With regard to the music, it is enough to say that the famous air, "Madamina," in which Leporello relates to the unhappy Elvira the history of his master's loves and infidelities, could hardly have been sung with better point and appreciation. Signor Tagliafico is, probably, the best Commendatore that has been heard since Don Giovanni has been familiar to England. His singing in the last scene, as the statue, was perfect. The little part of Masetto seldom finds so efficient a representative as Signor Polonini, who would do well another time to restore the air, which, though never sung, is quite worth singing. The general execution was not what we have a right to expect at the Royal Italian Opera, when the greatest of all chef d'œuvres is in question. The representation throughout was of a nature which indicated that there had been no rehearsal, or, at the best, an inefficient rehearsal. Year after year the performances of Don Giovanni become more negligent and unsatisfactory. This is unwise on the part of those most interested in the matter. An opera which has been a mine of wealth to half the theatres in Europe for more than half a century, which to this day has lost none of its freshness and absorbing interest, and which has never yet failed to attract the public, is surely worth the time and pains so often bestowed in vain on works that appear for a season and are immediately forgotten. Donizetti's serious opera, La Favorita-his earliest and most successful contribution to what, in his day, was called the Academie Royale de Musique et de Danse-was given, for the first time this year, on Saturday night, before one of the most crowded audiences of the season. There was a new feature in the cast-the character of the King of Castile being assumed by Signor Belletti. Here this clever and painstaking artist was in his element. Alfonso XI. has never been regarded as an acting part, either on the French or Italian *stage. All that is expected of its representative is to sing an aria and a romanza effectively, to be well at home in the concerted music, to be appropriately dressed, and to look kingly and important. No great actor having ever undertaken the character, no great histrionic points are connected with it by tradition. The musical talent and vocal flexibility of Signor Belletti were therefore in good request, and his performance throughout was artistic and satisfactory. The cavatina, "Si tutti i cortigiani," with its somewhat commonplace last movement-in which the King, in soliloquy, declares his passion for Leonora-was sung with ease and spirit; and the familiar romanza, "A tanto amor"-when his cunning Majesty makes a merit of resigning the hand of his unfortunate mistress to the keeping of his most valiant warrior (Ferdinando), who knows not the degradation to which he is subjected-was sung with feeling and expression. In the concerted music the value of Signor Belletti was made evident wherever he had anything to do. He was perfect to a note. It is probable that the acting and singing of Grisi and Mario have been chiefly instrumental in retaining La Favorita-so dull, for the most part, in spite of its magnificenceamong the available pieces in the repertoire of the Royal Italian Opera. The last scene between these popular and accomplished artists would make the opera worth seeing, independently of any other attraction. The Leonora of Grisi is an exquisite impersonation. All that is erring in the character of the King's favourite is softened down with such art that the audience not only accords her its sympathy, but pardons her with as much sincerity as Ferdinando himself when the final meeting takes place between the unhappy lovers in the cloisters of St. Jacopo. If the behaviour of Alfonso XI. can only be looked upon with abhorrence, that of his mistress can hardly be considered with anything less than contempt, since, although repentant, she still participates with the king in the act of duping and abasing a gentleman and a soldier,-a man of courage and character, who loves her honourably, and believes her worthy his attachment. The veil of gentle patience, long suffering, and devotion for Ferdinando, almost amounting to worship, which Grisi, with admirable judgment, throws over the whole, nevertheless endows Leonora with an irresistible charm, and shows her rather as a victim of the sins of others than a grave offender in her own person. The conception is delicate and the execution masterly. Grisi has not sung better during the present season than on Saturday night. The cavatina, "Compresi io ben!" in which, overwhelmed with the consciousness of her guilt, Leonora resolves to disclose the truth to Ferdinando, was given with great passion; and the cabaletta, " Crudi, andiamo," executed with the utmost brilliancy, was encored. Of Mario's Ferdinando it is scarcely possible to speak too highly. So well known a performance, however, it is unnecessary to dwell upon, further than to record that it displayed all those excellencies for which it has been famous, even in a stronger light than usual. The graceful romanza, "Ah si, un angelo," was sung with perfect taste and sweetness. The scene in which Ferdinando is exposed to the jeers of the courtiers, who taunt him with his disgrace in having become the husband of the King's cast-off mistress, and that which immediately follows where Ferdinando, spurning the unmerited indignity, tears from his neck the order with which the King has invested him, breaks his sword in two, and throws the fragments at the feet of the astonished and exasperated monarch, were acted with equal force and discrimination. The celebrated passage, "Che l'infamia pagava," instead of being declaimed in the ranting style of the French tenors, was delivered by Mario with a combination of offended pride and manly resolution, devoid of violence and furious gesticulation, which produced a far more legitimat impression, and, as a dramatic effect, was decidedly mor natural. But, whatever the claims to attention possessed by the 66 forded greater gratification to the company there assembled, than could have been afforded by any amount of rank or station, however exalted. In the commonwealth of genius, extraordinary gifts and high cultivation are the emblems of sovereignty. The works of a great composer enjoy a reign more enduring than the life of any monarch, and a wider empire than any king's dominions. No ordinary audience was there to pay homage to the illustrious Spohr. All that is most distinguished in the arts, literature and literary criticism, was fully and ably represented; and from such an assembly the enthusiastic reception given, with the warmth of a public demonstration, but with the social freedom of a nearer and more friendly circle, was a compliment that did credit to him who received and those who gave it. Verging on the "three score and ten," the space allotted to human life, he reminds us that we have but a precarious tenure of his powers; while the erect and massive form, the clear and commanding brow, still spoke of powers undescribed, and noble thoughts yet awaiting to be poured forth for future listeners. Time has indeed laid his hand lightly on one who has toiled so much; and in the first quintett its author took a part, and delighted all by the firm and pure mastery of the violin he adds to his higher accomplishments. The nature of his music has doubtless tended to preserve this freshness. The musician rather of the intellect than of the heart, he has preferred calmer and more thoughtful strains, sounding the most solemn depths of the heart, to the agitated and impassioned inspirations that awaken more vivid emotions. The former style strengthens with maturity; the latter exhausts, and is sure to grow feebler as age dulls the romantic sentiments of youth. The intellect outlives the feelings. first three acts of La Favorita-with their lengthy and elaborate finales, their ballet, their show, and their ceremony, the real attraction of the opera is concentrated in the fourth and last-in default of which, indeed, the rest would be tedious, almost without redemption. And it is precisely here that the talents of Grisi and Mario are displayed to the highest advantage. The whole scene is impressive and touch ing. A more picturesque tableau was seldom seen upon the stage than the roofless interior of the monastery of St. Jacopo -due to the united pencils of Messrs. Grieve and Telbin. The paraphernalia of the monks, their devotions and their penance some praying at the cross, others preparing their own graves-throw a peculiarly solemn atmosphere over the scene, which heightens the interest attached to the star-crossed lovers," here meeting unexpectedly in their last home, and deepens the gloom of the catastrophe. The acting of Grisi and Mario was never more beautiful and romantic. Mario sang the romanza, Angiol d'amore the most genuine and expressive piece of melody in the opera-with surpassing tenderness, and was enthusiastically encored. In the repetition his sentiment was still more passionate, and he invested the song with new and greater beauties. The soliloquy of Leonora, while Ferdinando, within the church, is taking the vows, was rendered a fine medium of expression by Grisi, whose exclamation, "Qual voce? e lui," constituted one of those sudden points of dramatic inspiration which are so peculiarly her own. The mutual recognition of the lovers; the well-known duet, "Vien, tutto oblio per te," in which, the past forgotten, Ferdinando gives himself up wholly to the influence of his passion for Leonora-the death of Leonora, and the despair of her lover-were one and all worthy of admiration; and the curtain fell amid unanimous plaudits. Grisi and Mario, being summoned to reappear, came forward, accompanied by Tagliafico, whose performance throughout, as Baldassare, the chief monk, was careful, effective, and correct. We must not omit to mention that the part of Inez (Leonora's confidant) was very nicely played by Mademoiselle Bellini; and and that a new dancer of more than ordinary talent-accompaniment to his "Carnival," sung by Mdlle. BuryMademoiselle Yella-obtained a great deal of well-merited applause in the divertissement of the second act, in which Mademoiselle Plunkett, although announced, did not appear. The next novelty will be Jessonda. Dr. Spohr will not, as expected, remain to conduct the performances, while Signor Mario has, for reasons that demand explanation, resigned the principal tenor part, which the management has, in consequence, allotted to Signor Luchesi. REUNION DES ARTS. The programme-for it was a soirée musicale—was framed at a marked and graceful compliment; and the name of Spohr would have appeared as composer of every piece in it, but for the admission of a song by Beethoven and another br Mozart-a union of names, than which no higher complimet could be paid. Malle. Clauss and Miss Goddard played s no common combination of talent. Miss Dolby was warmly and deservedly encored in Beethoven's song, "In questa tomba," and Miss Fitzwilliam narrowly escaped the same honour in Mozart's "Addio." An unexpected scene goodnaturedly improvised by Mr. Albert Smith-though not falling under the description of "classical "-seemed to amuse Dr. Spohr excessively, and made the audience separate with as much mirth and good-humour, as they did with a deeper satisfaction. ON INTERPOLATIONS. THE WORKS OF HANDEL. THE last of these agreeable soireés we have already noticed; we have reviewed their past season and their hopes of future (From the New York Musical World.) progress, have bestowed praise where it seemed due, and administered a lecture after the most approved fashion of DULING several years of active critical service, we have strenuously advocated the principle which now seems to be critics, who are generally obliged to temper commendation adopted, viz.-the performance of works entire; a plan which, by some little rebuke. We have, however, only as yet dealt though it may admit some compositions of inferior merit to the with the "last," we have now to notice the "positively last average quality of selections, alone pourtrays the complete design evening." The nature of this extra evening on the 15th bears of the master, sets the picture with all its lights and shades before out our previous remarks on the advantages of this institu- us, and discovers its total power or weakness. The liberties taken tion, and forms an example of no ordinary interest. It was with great compositions from time to time, would make an amusing at once a tribute to the genius of a world-famous musician, though, by cutting an Oratorio into shreds and patches, we do chapter in the history of human pretension and vanity; and and a precious opportunity to those who have long known not destroy the original, as we should by the excision of our his name and admired his talents, to meet the man himself. favorite effects from a Raphael, a Rubens, or a Titian; yet we inThe presence of Dr. Spohr imparted more lustre, and afflict injustice of a similar nature on the memory of the composer, when we cause him to be misjudged by being partially judged. Handel is fortunately a man of that mould which best survives the effect of petty unfavorable accidents. He has sustained the worst of these, and yet so established himself in the public heart, that we shall see his genius assume from year to year an increasing magnificence of character; and, becoming more and more acquainted with what he has done, with veneration and gratitude leave the true apotheosis of his sublime spirit to be celebrated by after ages. his purpose. For nothing is more injurious to effect than monotony of tone; and it was a principal of Mozart's composition, to reserve great means for great occasions. Had he wanted trombones, he might himself have used them; an inference, however obvious and simple, still not to be opposed to the love of making a noise. Such are some of those violations of the sanctity of the com. poser, which afford the musician, when not immediately exposed to their annoyance, a hearty laugh in his chair after dinner. We It would astonish those who have not much concerned them- must except from this general censure the additional parts for selves in observing the music submitted to public performance, brass instruments, which have been put to Handel's choruses by in how very small and limited a circle our pleasures of this kind some English musician-we believe a Mr. Kearns. These revolve. In an early stage of amateurism, we like to hear only indicate no coarse and vulgar hand; they are the mere notes of the that which we have tested and know to be good; as we advance-composer heard through another and more powerful medium; and though we acquire a distaste for excessive repetition-we still it is impossible to conceive, from the judgment and delicacy with shrink from the fatigue of encountering perpetual novelty. So which they are introduced, but that Handel himself would be in the that between the experienced and instructed listener, and the highest degree delighted with them. The effect of brass instru newly-fledged amateur, there are, to the last, strong points of ments arises wholly from the sparing employment of them. When mutual sympathy, which should engage both in mutual conces- we hear in the chorus, For unto us a child is born, the trumpet and sions for the advancement of music. We have now, we trust, trombones become prominent for the first time in the conclusion arrived at this point. of the last symphony, the penetrating tones of these instruments create a new interest, and form a climax so charming that rarely the work escapes an encore. So also in one of the most powerfully affecting choruses that Handel ever penned, Lift up your heads, what majesty marks the entrance of the bass trombones at the point, He is the King of glory! The whole presents an elevation of human feeling so sublime, as to make the blood thrill and to draw tears. We worship the spirit that can wing itself up to the Deity in this form; and feel, in the excess of our sensations, that we must possess the benevolence of some higher than human power. These devotional sentiments are not produced by mere noise-not by the acclaim of hundreds-but by that admirable regulation of effects, in which lies the whole mystery of music. Our ears are so constituted, as speedily to adapt themselves to any degree of sound; and the loudest thunder of the organ, or the gentlest notes of the flute, become alike in their operation upon us, if we are rendered as familiar with the one as the other. Impressions of greatness in music are produced at a blow; and though power, open or concealed, has to do with them, it must be always power well applied. Thus the true master knows how to electrify his hearers by one note; and who that remembers the opening of the last chorus in Israel in Egypt, can have forgotten the effect of the triumphant multitudinous unison, I will sing unto God. Again, the subdued effect of choruses sung in harmony, but entirely in an under tone-as He sent a thick darkness, presents another form of majestic power, in which the poet's noble personification of might slumbering on his own right arm," is brought vividly before us. One, and indeed the principal, reason why there remain so many untried and unheard things of Handel is the want of paris, by which the uninitiated reader is to understand copies for the individual members of the band and chorus. The possession of these by sundry members of the musical profession, and the power to let them out on hire on particular occasions, has hitherto been a very valuable source of income. Strange that a common-place, or, perhaps, a ridiculous person, should be enabled to levy a tribute on the genius of a master, far greater in amount than any the author ever received for his own work! But this kind of property is now so well understood, and so widely shared, as no longer to provoke the lust of gain Societies make their own stores, and encourage active and intelligent librarians of their own. Next to the representation of the entire work of a master, the spirit of the age exhibits a stringent necessity for the purest and most authentic versions of his composition. Amateurs exhibit a strange laxity on this head, and have admitted into their scores the most ridiculous intrusive notes. These additional orchestral accompaniments have arisen out of that fatal love of hearing themselves, which is the dertruction of a grand whole. If an amateur flute-player, for instance, wanted a part, he would, without remorse, get one made for him, or make one for himself; not once stopping to fancy the indignation of Handel. We recollect that the Judas Maccabeus" has been particularly ill-treated in this way, and to have felt the liveliest resentment at the impertinent vanity which could introduce into the impressive dramatic chorus Fall'n is the foe, a succession of trivial flute passages. These passages, because they happen to form the subject, might seem peculiarly appropriate to the absurd pedant who made them; but they draw off the unity of the attention, divide the concentrated power of the author, and so injure, if not destroy, his original design. We are aware that M. Moser, of Berlin, has made some alteration in the scores of Handel used in Germany; but this duty has been chiefly confined to the remplisage of the harmony-the mere supporting and thickening of it by the aid of instruments unknown in Handel's time, and not by venturing to add original features. Even this labour, however, is to be admitted with great caution. Let it be conceived then, with what horror a refined and educated musician finds all sorts of incompetent people, re-instrumenting a master-work. We are enabled to give an instance of this from personal observation. At a performance of Don Giovanni by a private musical society, some notes of trombones not in the score assailed the ear of the conductor. Inquiring into the circumstances of this eruption of big trumpets, we received the very naive answer, "Oh, they made the parts themselves!" Now, it is as well known that Mozart had a very pretty notion of the powers of the tromboni, and has used those instruments for the grave colouring of all the more solemn and awful scenes of Don Giovanni, here was a complete example of the wilful and ignorant frustration of The truth, that great effects are only realized to their full extent, when met with in that relative position to the principle lights and shadows of his picture which the author originally designed, is the strongest argument we know in favour of the production of entire works. It should also restrain the rash hands of those unthinking people, who, without knowing anything of the philosophy of the system of effect which guides the pen of a master in the formation of a score, have yet the hardihood to make additions. Critics in painting and poetry would soon discover and hold up to public indignation the author of any liberties with a great original; but in music (that is, in the copies used for performance), it is astonishing how many drivelling absurdities, perpetrated by the Lord knows who, have been allowed to sneak into public, affixed to masterworks. But it is time to reduce these pretensions to their true standard. It ought to be the part of all genuine musical critics to make themselves well acquainted with the original scores of the works they hear, and to signalize any violation of their integrity and purity, except due cause be apparent. By these means they will become the guardians of that fame which a great master commits to the love and the discernment of posterity. Foreign. SAN FRANCISCO, MAY 24th, 1853.-(From the Correspondent of a New York paper.)- How is it Mr. Editor, that you never have a word to say about "California Musical Affairs?" I look in vain in every number of your work for some account of our Pacific fashionable world. Do engage some one to keep your poor Atlantic readers acquainted with our rich doings. At this time San Francisco has no less than three theatres in operation, not including the performance of the German Company at " Amory" Hall, and the French Company at the "Adelphi" on Sunday evenings. In addition to these, are two brick buildings commenced, for English and French theatres. At the San Francisco theatre Mrs. Sinclair is performing, and at the American Lola Montes commences tomorrow night. During the last seven months our city has been gladdened by the sweet notes of Catherine Hayes, who is now on her way to Valparaiso and Australia. Catherine Hayes' career has been one continued source of pleasure to the public and profit to herself. The receipts of her two last concerts were over 10,000, dollars, besides many valuable presents. The private life and virtues of this lady, who is ever accompanied by her mother, have tended much to her success both in this city and throughout the interior, where large Halls or Theatres are to be found in some twelve different towns or cities in the vicinity of the mines. Herr Menghis is her vocal companion, and is deservedly much beloved by all those who have become acquainted with him. Bands of Quartet Singers, Negro Minstrels and "distinguished artists" are to be found throughout this state. The celebrated “Miska Hauser" is in the interior. By bad management his success has been very indifferent. George Loder is highly esteemed among us, as is also his lady, who has become one of the members of the company at the San Francisco Theatre. Louis Lavenue, the composer and artist, has gone to Australia. Our city is filled with "artists," for every instrument, recently arrived. A company of vocalists from New York arrived by one of the steamers, but, having lost by death one of their members, will not appear in concert at present. Our churches are multiply ing. Many of them have fine organs in them. Trinity Church is now closed, to enable the erection of a superior organ from Jardine, of New York. He had not been long at Turin before the ancient passion returned, and young Jullien's head and heart were again as full of music as before the time of his naval and military adventures. Dissatisfied with what the capital of Sardinia could supply in connection with his favourite pursuit, he resolved to go to Paris, and try his chance of being admitted into the Convervatoire, which was then directed by Cherubini, how to accomplish it was another matter. Where there is a one of the idols of our hero. The resolution was good, but Among the large and splendid warehouses, hotels, stores, duced in circumstances, and had been obliged even to sell his will there is a way, however. Antonio, who was much reand houses in this City of Gold, the music store of Atwill little estate of Sarrebois, to supply his immediate wants, could and Co. is not, by far, the most insignificant. The community daily appreciates the efforts of the "Pioneer of the The son, on the other hand, was not to be deterred; and, in give no substantial assistance to the execution of the project. Pacific in music matters," and daily can be seen at his estab-default of the necessary travelling expences, he resolved to make lishment scores of ladies selecting the various new publications as received by every steamer from the great publishers of the Atlantic. DR. WYLDE AND THE NEW PHILHARMONIC. The following letter has been addressed to Dr. Wylde, by the members of the New Philharmonic Orhestra. London, July 16th, 1853. To Dr. WYLDE, Sir,-We cannot take leave of you at the close of the second season of the New Philharmonic Society without giving some expression to the feelings of admiration and regard which we entertain towards you. As the originator of this great society, which has done so much, and is destined to do so much more for the advancement of music of the highest order; as the director of the music, attending to all the complicated arrangements of the concerts, and to the construction of the successful programmes of the season; as one of the conductors of the performances; and as a composer, who has added to his titles in this respect the music of "Paradise Lost," of which your country has reason the journey on foot. Arrived in Paris, after a painfully long and tedious journey, Jullien put up at a small auberge, in the Quartier Latin, where he passed a feverish restless night-sleep deserting him until his mind could be put at case about the object that lay nearest his heart. The next morning he went to the Convervaloire, and, after some hours waiting, had the good fortune to be received by the illustrious Cherubini. The interview was anything but consoling to poor Jullien. The master was in one of his most crabbed humours, and interrogated him so hastily, that the tears came into the eyes of our hero, who gave everything up for lost. As he was on the point of leaving, with a heavy heart, and with the conviction, derived from the assurances of Cherubini, that he had not the smallest chance of being admitted into the Conservatoire, the sour old musician called him back suddenly "Cheche", stuttered the composer of Anacreon, "che―― che▬▬ qu'as tu fait ?-as tu deja ecrit quelque chose?". THE MUSICAL WORLD. whom the slightest explanation irritated-" Come again, and As soon as he was in the street, our hero danced for joy, "You have talent"-he said-" even genius; but you The delight of our hero may be well imagined. He went Some time after his reception at the Conservatoire, Jullien Cherubini, however, was not very well satisfied with this "Tu a fait"-said the illustrious maɛter to our hero It was on leaving the Conservatoire that Jullien was ap- Prosperity emboldened Jullien, at last, to take a place for himself. The magnificent hotel of the Duke of Padua being unoccupied, he leased it for a period of years, and fitted it up The managers in the most splendid style, for balls, concerts, and other entertainments. Here he established his famous Casino (after the Italian mode), which soon became the rage. of the various theatres, vexed at the enormous patronage accorded to Jullien, employed every means in their power to The shut up his Casino. It was too near the arena of their own exploits, and in the summer especially, attracted nearly 10,000 most distinguished supporters of theatres and concerts. visitors every night, among whom were a vast number of the Duke of Padua were invariably crowded by the elite of superb gardens and gorgeous saloons of the hotel of the society. An orchestra of 120 first-rate players, a chorus of 200, a ballet of 30 excellent dancers, and premiers sujets to His continually augmenting success increased the match, enabled Jullien to give performances on the grandest scale. anger of the theatrical directors, who united in getting up a powerful cabal against the spirited and popular entrepreneur. But the Parisian public was too knowing not to see through the conspiracy at once. The public indignantly opposed it, and the rioters were turned out, the hissers cuffed and illMatters did not end here, however. The dispute involved treated, and the enemy completely discomfited. Jullien in quarrels, and in some cases in hostile meetings. In two duels he was successful. The evening before a third was the following letter:-to take place, he found, on returning home to his apartments, [TRANSLATION.] Sir, -The person with whom you are going to fight to-morrow is a professor of fencing. He makes a trade of his sword, and is hired to kill you, as he has already killed others. Some years ago had been master of arms, for having killed three persons, in duels, he was dismissed from the 22nd regiment of the line, where he in the space of less than a year. An officer of that regiment, a friend of mine, who was present with myself at the ball yesterday, when the quarrel took place, advises you not to fight with such an assassin. If, however, you are determined, and nothing can prethe botte secrete (the secret lunge), the parode (the parry) of this vent you from going out, he begs me to say that he will teach you "Your devoted, same Leleu (nicknamed le Loup-"the Wolf"), who was my friend's fencing master in the 22nd regiment. CHARLES FROMENT, (Who only knows y ou by reputation) Jullien "Chaussée d'Antin, &c." Our hero, on his side, knew Charles Froment by reputatation. He was one of the Lions of Paris-a fine dashing He immediately repaired. young fellow, as full of good nature as of courage. to the Chaussée d'Antin, was received by M. Froment with did not hesitate for an instant. He was one of those manly soldiers the greatest cordiality, and introduced to his friend, the officer in question-Lieutenant Reboul, who was in Paris, who confer such honour upon the French army-goodness, frankness, and bravery, were unmistakeably reflected in his countenance. on leave of absence. He pressed Jullien's hand with warmth. "You shall not fight," he exclaimed; "with such a vagaI know him well-the rascal!" bond there can be no point of honour. To-morrow I shall Jullien, however, was not to be dissuaded. Besides, throw my whip in his face. "I must fight," he replied, "otherwise they will say I was afraid of Leleu because he is a fencing-master. of Navarino in the bargain." though young myself, I am an old soldier, and a sailor |