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had fallen into the hands of Cromwell's soldiers, and there seemed every prospect that the others would speedily be in their possession, it was resolved that the Regalia should be at once removed to the Marischal's castle of Dunottar, which was thought to be sufficiently remote, and of such strength as to insure their safety. An order of Parliament was accordingly passed on the 6th of June, the last day of the Parliament, 1651, by which the Earl Marischal was enjoined to transport them thither.”
Dunottar, in the county of Kincardine, is described as a stronghold of no ordinary description, and as having been built on a point of land, projecting in high and perpendicular rocks into the German Ocean; of which George Ogilvie, of Barras, “ a gentleman of the highest honour and bravery," was appointed Lieutenant-Governor, with a sufficient garrison under his command, and a supply of artillery.
This place, strong as it was, was not, however, from the continued successes of the Puritan army, considered a safe repository for the “national honours, and the governor seems to have been pressed by the committee of estates to give up the regalia, that they might be conveyed to some place of greater security. This, however, he declined to do; and, in his embarrassment, wrote to the king, entreating that he would have the invaluable charge removed. Charles was not, however, in a condition to comply with the request, and in the meantime General Lambert had invested the castle, and a strict blockade was ultimately commenced.
• In this emergency a plan was formed, originating, it is believed, with the Dowager Countess Marischal, but a humbler, yet not less devoted loyalist was the immediate agent in carrying it into effect. This person was Christian Fletcher, wife of the Rev. James Grainger, minister of Kinnèff, a small parish about four miles distant from the castle. She had been permitted to visit the governor's lady, who entered most gladly into the scheme; and, as no provisions were allowed to be carried to the castle, Mrs. Grainger made the pretext of executing some trifling matters for Lady Ogilvie. The day on which the last memorable visit was paid, the leal-hearted matron took the crown in her lap, and her maid followed with the sword and sceptre, wrapped in a bundle of flax or hards, which the besiegers were made to believe was to be spun into thread; and thus laden, they courageously left the castle, and passed through the English troops. Mrs. Grainger was accustomed to ride, and when she reached the camp where the horse was left, it being impossible to approach the castle except on foot, the commander himself assisted her to mount !
• They got safely clear of the enemy, and conveyed the precious charge to Kinnèff, when the worthy minister was let into the secret. He had been hitherto kept in ignorance of the design; for, as it was expected the castle would immediately surrender, this secrecy was observed, so that he should be able, if interrogated, to aver conscientiously that he neither knew how, when, nor whether, the regalia had been removed.'
The following is the account which this excellent pastor gave to the Countess Marischal of the means taken for the effectual concealment of the treasure :
“ March 13, 1652. “I, Mr. James Grainger, minister at Kinnèff, grant me to have in my custody the Honours of the kingdom—viz., the crown, sceptre, and sword. For the crown and sceptre I raised the pavement stone, just before the pulpit, in the night tyme, and digged under it ane hole, and put them in there, and filled up the hole and layed down the stone just as it was before, and removed the mould that remained, that none would have discerned the stone to have been removed at all; the sword again at the west end of the church, amongst some common seits that stand there. I digged down in the ground betwixt the two foremost
these seits, and layed it down the case of it, and covered it up, as that, removing the superfluous mould, it could not be discerned by any body; and if it shall please God to call me by death before they be called for, your ladyship will find them in that place."
The brave Governor Ogilvie was forced, in the May following, to surrender the castle, honourable terms being granted to its gallant defenders; but when the much-desired prize was not found, great was the mortification of the conquerors, and although the governor's personal freedom had been expressly guaranteed when the capitulation took place, “ both he and his lady were treated with great severity, being dragged from one place of confinement to another.”
“ It is the tradition, that Grainger and his wife were likewise suspected, and were not only committed to prison, but were put to the torture, without extracting a syllable respecting the object of their enemy's desire."
The valuable deposit, it appears, from Mr. Logan's account, lay inhumed until the Restoration, when the brave Ogilvie, besides being created a baronet, received other marks of favour, but which were not, however, considered adequate to his services, and the loss sustained by the confiscation of his estates; much jealousy was also excited by the disproportionate rewards bestowed upon Sir John Keith, the youngest son of the Countess Marischal, who, having written a letter from abroad to his friends in England, relative to the treasure, was supposed to have contributed to its safety by throwing the Puritans on a wrong scent. The equally important, though inferior actors in the preservation of the Regalia, the worthy minister and his wife received by virtue of an act of parliament, two thousand marks Scots (about £111 28. 2d.).
The ancient relics thus preserved we are informed remained undisturbed in the strong-room at Edinburgh Castle, from 1707 until 1817, when a commission was appointed to search for and report on the Regalia of Scotland ; and in 1818 they were discovered in the Crown-room, whereupon the greatest enthusiasm was displayed by the people, especially when the crown was publicly displayed.
The talented author concludes this exceedingly attractive history with a graphic description of the treasures; and beautiful as Mr. Scott's engraving is as a work of art, its value is without doubt doubly enhanced by the literary accompaniment.
The typographical arrangements are also highly creditable to Mrs. Mary Parkes, who is the proprietor and publisher of the engraving.
We cannot resist the following original stanzas on this interesting subject ; they appear to us to require no commendatory remarks :
THE MINISTER OF KINNEFF. A midnight scene arrests the eye,
Yet firm in faith, in purpose true, What means this open grave,
She owns no coward feeling. And these pale forms thus ling'ring nigh
Less moved than he, whose heart with hers The dark sepulchral cave ?
Has throbbed in kindred union,
Shall hold its deep communion.
His eager glance is raised on high,
Where wakened birds are flutt'ring,
His anxious heart is utt'ring.
That hostile arms surrounded;
Yet loyal love abounded. A nation's honours they secure
Rest, humble pair! Your midnight toil, From pillage and decay.
Through weary years enduring, For woman's zeal and woman's heart, Withheld the mighty from the spoii, Scarce chronicled in story,
Old Scotia's pride securing. Have borne this day a glorious part
And long faith and truth have power In saving Scotland's glory.
To charm in simple story, Meek is her trust. Her aspect view, We'll bless the art, which at this hour Dark shadows round her stealing;
Still crowns your name with glory.
HER MAJESTY'S THEATRE. Time was that the announcement of the opening of the Italian Opera House in the Haymarket excited a commotion, not only in the world of fashion, but through all the various grades of society. The nobles of the land, who during the vacation had sought, repose and renewed health on their ancestral domains, now exchanged the balmy breezes, rural landscape, and the ever-varying aspects of nature, for the gas-fraughted theatre and the painted canvass—the natural melodies of the birds and the music of the forest for the artificial warblings of prime donne and the clangor of the orchestra. The Italian Opera House was then the centre of fashion, and the possession of a private box conferred upon its fortunate owner something akin to a patent of nobility. Here was the true cynosure of the aristocratic beauties of England-hence issued the fiats of fashion-here were marriages managed--parties arranged-alliances settled--and diplomatic devices del veloped. Within these four walls assembled the true congress, composed of the female ; and male magnates of the earth. It was a spot apart-sacred to the mysteries of the silver-forked members of the great Babylon, into which none but the initiated could hope ; for admission. The pit was then tenanted by ladies in full dress, and by gentlemen in strict evening costume. But these were days when the etiquette of dress was not deemed macaronic, and when the vulgarities of street life dared not seek entrance into the refined precincts. The subscribers were then suffered to pronounce judgment upon the merits or demerits of the works produced, of the true qualifications of the singers, and the capabilities of the members of the ballet. There were no riotous manifestations got up by persons hired, either by sums of money or an unlimited to receipt of admissions, to force the public to countenance meagre talent and immature artistes. No dame figured in the bills that had not already received the stamp of autho-1 rity, that had not previously earned its lyrical laurels--there were no puffs anticipatory+ no private rehearsals for the press, to secure beforehand the partial verdict of a jury of , 11 journalists—no private boxes were then used as retaining fees to the public advocates. The Italian Opera in those days stood upon its own merits, unswayed by managerial diplomacy, or paid for praise. The unfledged talent and the future promise of genius were A left in their native Italy, to bloom and blossom, and only when fully perfected exhibited here as worthy the patronage of the opera-goer. The crude effort would in a those days have been driven from the boards, and the direction been made sensibly to feel the heinousness of the attempt. The incapables of the smaller theatres of the Continent would not have been essayed on that stage consecrated only to the ruling geniuses of the world. The mere attempt to produce such ensembles as have been lately witnessed would have met with instant reprehension. Well, these errors were for some seasons persisted in; subscribers complained--the public grumbled the great artistes naturally suffered from their collision with inferior talents—a chorus inefficient in numbers and without i discipline-works produced with an utter disregard to truth of scenery or correctness of costume, would, in the common course of mundane things, produce their inevitable consequence. A total disruption took place. But the quarrels of singers
the complaints of musical directors—the want of temper, and impolicy of managements--it is not our task to dilate upon. Sufficient for the day be the evil thereof; the old Opera, house was abandoned by its ruling stars—the band packed up their instruments and departed-the chorus dispersed, and the manager was left almost alone in his solitude. The longcherished plan of a second Opera-house, which until then had only existed in nubibus, grew into consistency. Covent-Garden, with its hallowed memories of the Kemble dynasty, was taken by the chiefs of the old Opera; the former interior vanished, and a new and brilliant theatre, specially formed for an enlarged rendering of the lyrical art, arosé; the celebrities of the ancient theatre joined the ranks, strengthened by recruits of established fame in the mother-land of song; the orchestra, which had been the former's stronghold, headed by their own chief, took their places; and even the chorus joined the mighty phalanx. The old prestige was quickly passing away, for noble and
aristocratic patrons laboured zealously in the cause of the advanced movement. An impetus was thus given to more complete interpretation of the high lyrical drama; the wanton lethargy and the dormant energy was now found necessary to be roused, and Mr. Lumley scoured through Europe to fill the voids left by the simultaneous desertion of all the hitherto great attractions. Grisi and Mario, and Persiani and Tamburini and Costa were not to be replaced ; an orchestra composed of great instrumentalists, trained by continuous practice, was not to be easily combined; there was “the world before him, where to choose." But Europe was not affluent in commanding talent; the great singers, even those that did exist, were dispersed; a few instrumentalists were found, but when the orchestra was completed, it proved to be thin in tone and ill balanced, and the effect between the past and present was distinguishable to the most uneducated ear. This very foundation of all lyrico-dramatic works proved to be weak, ragged, and unstable. The operatic troupe was found to be so inoperative for any enlarged purpose that there was not even a vocalist capable of undertaking the part of Adalgisa. Gardoni was purchased from his former owners, and though young and good-looking, and endowed with an excellent organ, could, admittedly, bear no comparison with Mario. Coletti, a fine artist, though dramatically monotonous, fortunately filled a gap. Madame Montenegri
, with an exaggerated style and unsympathetic voice, and Castellan, though an agreeable vocalist, could not weigh with the gorgeous Grisi and the refined Persiani. Lablache, whose engagement bound him to the management, separated from his singing mates appeared to pine amidst the mighty desolation. Many and various have been the reasons assigned for the sudden and entire retreat of all the great artists from the scene of their several wellearned triumphs. Monetary considerations here had no loop to hang a doubt upon; for in a commercial pointofview their salaries were secure-their several positions wereuncontested -the public received them with its usual enthusiasm up to the last moment of the closing season—and yet, despite of all, they heartily joined in a then new and doubtful speculation, determined unanimously to venture all they had formerly achieved to carry out what they deemed an act of self-justice. Artistes are of peculiar idiosyncracy-they are the true monarchs of the world, for God has gifted them with genius for the delectation of mankind, and therefore they cannot submit to haughty commands, and the want of warm fellowship. The discipline of an office is repugnant to their natures, and their souls rebel against the merely managerial dicta. Kindness and a feeling for art are as necessary to them as the weekly salary. In this dilemma all, was doubt and gloom; not a glimpse of sunshine was observable athwart the wide expanse. Suddenly was bruited forth the engagement of the one bright and particular star -Jenny Lind. She came, and for the moment all was light and success. She stood alone in her glory, for not even the smallest satellite could be found to move in the same orbit. The ruin was stayed, and the season finished, as far as Jenny Lind and the treasury were concerned, fortunately. The new season has commenced, but with all the good wishes we entertain for the old opera, we can perceive but small means for ultimate success. Signora Cruvelli is young, and possesses a soprano voice of singular extent, but it lacks power and finish, and her dramatic experience is small. There are the elements to produce a fine singer, but time and assiduous practice are necessary to fit her for the rank thrust upon her inexperience at Her Majesty's Theatre. The old objection remains-we want positive excellence, not promise of excellence. The stage of the Italian Opera is not a school for tyros. The new tenor, Cuzzani, may at once be dismissed. He has neither vocal nor dramatic power, and the public should have been spared the insult of his appearance in the leading character of Ernani. As a substitute for poor Corelli he will pass muster, but how the repertoires of Tadolini and Lind are to be illustrated by Gardoni alone in the tenor parts, remains to be proven. Of Signor Belletti, who made his first appearance in the character of Ruy Gomez di Silva, we cannot but speak in terms of commendation; he possesses a fine, rich, well-cultivated voice, of perfect flexibility, and will form a very good substitute for Staudigl, who has not joined the troupe this season. Thus, anything approaching to completeness in the works produced in the present state of the troupe can scarcely be anticipated. Jenny Lind may remain an absorbing attraction, but the experience of the star system has proved that this cannot be secured. The ballet is, as usual, to be the grand support; thus the lower art takes precedence of the loftier, but the passion for choregraphy has cooled, for during the past season uling favourites, who were wont to call down showers of floral offerings, were literally left to pirouette and exhibit their well-poised limbs to vacant boxes, empty stalls, and scattered pits. The theatre opened with the uppopular Ernani, and a very pretty new ballet. The audience was of a mixed nature, and bore intrinsic evidence of being packed for the purpose.
ROYAL ITALIAN OPERA. Whatsoever may be the conflicting opinions of the advantages of free trade in commercia laffairs, there can be no question as to its beneficial results on art. The antiquated dogmas of prescribed rights and special privileges, and peculiar monopolies, do not, and should not, apply to the free cultivation of the broad lands peopled by the muses. It is a received principle in political economy that the demand of the market inevitably produces the material required; and we may set it down as incontestible, that had not a second Italian opera-house become necessary, that a second Italian opera-house would never have been thought of. Without suffering ourselves to be heated into partizanship, ard feeling ourselves actuated alone by the desire for the perfection of the lyrical drama, we cannot but recognise the benefits that have already arisen from the rivalry of the two houses. The efforts of the Royal Italian Opera have stimulated the old property to a more vigorous action, and an enlarged view of the true objects of such institutions. The wonted system has by this very collision been departed from, not from any views in which the public was concerned, but by feelings of self-defence. The array of strength set forth in the programme is beyond former precedent. Each and every point is affluently provided for-there are great prime donne for the due rendering of the most opposite schools of music-Grisi, Persiani, Alboni, and Viardot Garcia--not to mention Steffanoni, Corbari, and others. Tenors have multiplied, and basses and barytones quadrupled; and great as was the instrumental force of last season, it has been strengthened. The great works of Meyerbeer are to be given under the guidance of the illustrious composer, and the last new opera of Scribe, with the great French tenor, Roger, in his original part, is to be produced under the superintendence of the gifted Auber. Alboni having achieved a series of successes in Paris, will combine with her former popularity the prestige of her triumphs in the French capital. Various important improvements have taken place in the audience portion of the house, which will materially contribute to the comfort and enjoyment of the public. Spectacle, which forms so ruling a feature in the great operas of Glück and Meyerbeer, will here find ample verge and scope; this is a vast advantage which the stage of the Royal Italian Opera House possesses over its rival. Though the current outlay will necessarily be enormous, we feel convinced that the patronage will be commensurate with the greatness of the undertaking; for we have an abiding faith in the theatrical proverb, that “money thrown from the window always returns by the doors."
DRURY LANE THEATRE.
This ill-fated theatre has at length closed its short and eventful season. The rich hopes that were entertained of establishing a national opera-house have been dispersed, not for want of a sincere desire in the public to foster the intent, but from a series of accidents, and want of the necessary managerial experience. That M. Jullien has energy few will deny, but this very energy carried to an imprudent excess is peculiarly dangerous in theatrical affairs. His views have been Utopian, and as it would seem, his pecuniary means insufficient meet the current expenditure. An overwhelming company was injudiciously engaged, which, though excessive in numbers, was singularly weak in
with the exception of Mr. Sims Reeves, Madame Dorus Gras, and Miss Miranthe rest were comparative failures—the slightest accidents were unprovided for, and the one opera which really succeeded, the Bride of Lammermoor, was put aside in the very flush of its great triumph, to give place to a second-rate opera by Balfe. Thus bad began, but worse remained behind; the introduction of a comic pantomime was a material blunder ; without adding the engagement of two gentlemen to write and produce it, both of whom were totally inexperienced in this peculiar class of composition. A large outlay was thus incurred without the slightest chance of a profitable return. For want of time and tact the affair was a signal failure; and then came the opera of Linda di Chamouni, a work for the due interpretation of which first-rate artists are absolutely necessary, presented by debutants wanting in the simplest rudiments of stage knowledge, and vocally inefficient in all and every respect. The chorus was found to be too numerous at the expiration of the first week for the treasury, and a large portion on the spot was cashiered; while the leading instrumentalists left the theatre to accompany M. Jullien in his provincial concert tour. Thus the