Park Theatre. The "revival" of Shakspeare's plays in a becoming style of magnificence, has often been desired by the friends of art, both in this country and in England; but the difficulties which presented themselves to the accomplishment of so desirable an object, and the doubt entertained by distinguished actors as to the attainment of that degree of success, which would indemnify them for the laborious research and enormous expense required at their hands, has deterred but too many from making this final effort to ensure the permanent support and brilliant triumph of the legitimate drama. Macready has done much to raise the English stage; but his labors were in some respects abortive, and in a pecuniary sense he lost more than he might reasonably have expected to gain. In the United States, however, we need have no apprehension of failure. The success of Richard III., as brought out by the Keans a short time since, has formed quite an era in the annals of theatricals in America, and has emboldened the enterprising artistes to get up a series of representations, unequalled in gorgeousness of costume, appropriateness of scenery, and accuracy of detail. The great event of the month, at the above theatre, has been the production of "King John;" preparations for which had been several months in progress. Much as we had expected, owing to the various announcements which had appeared in the daily journals, and to the opinions expressed by individuals, who had exclusive means of information, we confess we were taken completely by surprise. In whatever light it be regarded, the spectacle of King John is equally admirable. The curious skill of the anti

quary and the taste of the painter are displayed in every scene, and even in the minutest accessary. In fact no expense has been spared that could have heightened the effect. The various tableaux are as a mirror of the times,

"Vivid and faithful to the historic page"

The costumes, armor and arms, of the different courtiers, knights, soldiers, citizens, priests, and attendants, have been duly authenticated, as indeed have been

those

"Ensigns of war, of peace, or rites divine,"

which glitter throughout the performance, with alternations of wild commotion, dubious repose, and stern command. The state-room in the palace of the king, where the first act takes place, is one of the finest scenic displays ever beheld, and so real were all the adjuncts, that we could almost have fancied ourselves present on the occasion. We do not, however, admire the text of the play as well as that of most other of Shakspeare's works, for there are few of those powerful passages, which, almost "acting themselves," produce an electrical effect upon an audience. The three principal performers were, notwithstanding this, lucky in having parts admirably adapted to their respective powers. Mrs. Kean threw such intense pathos into her personation of the Lady Constance, as to elicit frequent applause; and Mr. Kean, of whose abilities as an actor we have already spoken, acquitted himself most creditably in the part of King John. Mr. Vandenhoff's Faulconbridge was a natural, vigorous and racy piece of acting, and seems to have made a very favorable impression. We have never seen larger audiences within the walls of "Old Drury," than witnessed the earlier representations of this piece; and this afforded us much pleasure, for it is ever gratifying to find our citizens ready to encourage all that is really worthy of patronage. That these spectacles are so, -not merely as a source of amusement, but a means of instruction, is apparent to every cultivated mind, whose taste for the fine arts is susceptible of improvement.

Concerts of Henry Hertz.-The immense and brilliant audiences which attended these concerts are a triumphant

refutation of the oft-repeated assertion, that the success of artists in this country eulogies of the public press. Mr. Hertz has been mainly owing to the glowing appeared in our midst almost before we had heard of his intention to visit our shores, and yet his reception has been cordial beyond example. He is, undoubt edly, one of the greatest pianists of the age. His performances are remarkable for the most exquisite delicacy of execution and sweetness of expression.

Though in some points inferior to De Meyer, he is greatly superior in otherswhat that gentleman possesses in manual

vigor being more than counterbalanced by a refinement of taste and dexterity of touch, that enable M. Hertz to produce a thousand delicious harmonies, far less noisy and startling, but, in our own opinion at least, much more agreeable. Madame Pico and Miss Northall sang at these concerts, and their sweet voices, whether in solo or duett, were poured forth in such silvery streams of melody, as to elicit the most rapturous applause.

Indeed, Madame Pico fully sustained her reputation as the most accomplished cantatrice in our city, and it was quite evident that Miss Northall had made rapid progress in her profession. A new feature was added to this "feast of music and flow of soul;" sixteen pianos having been introduced, and played upon by half that number of our best musicians.

Painting by Leutze.-Two or three pictures of more than ordinary merit were exhibited during the month, at the rooms of the American Art Union. It was our original intention not to notice any of the works in this collection till about the time of the annual distribution; but as many of them are lent only for a limited period, and others are frequently purchased and taken away by their respective owners during the course of the year, we think it advisable to depart, occasionally, from the rule we had adopted. We shall reserve our general notice of the paintings, however, till that appropriate moment when their number and merit arrive at the climax, which must win the admiration and insure the deep interest of the public. In selecting particular works for remark we shall always be actuated by one simple and pure motive-a desire to make known the best productions of our native artists, or to point out the defects of those remarkable pictures, which, though far below the standard of excellence, are still regarded by many persons as chef-d'œuvres of art. The most striking deficiency to be observed in the works of those painters who have not had the advantages of early and severe academical study and instruction, is ignorance of the human figure; and we have seen few pictures in the exhibition entirely free from this objection. Several of our best painters are so conscious of their want of actual knowledge in depicting the form of man, that, with all their taste, talent, power of coloring, and of light and shade, they have rather devoted themselves to landscapes, and low familiar subjects, than to the elevated walks of historical

and poetical painting. It is not surpri sing then, that Mr. Leutze's picture of "Iconoclast Puritans destroying a church," which has been exhibited by the Art Union, for some weeks past, should have been so generally admired. It contains several groups of figures, drawn with great accuracy, spirit, and dramatic effect. The scene takes place, evidently, in the time of Oliver Cromwell, as most of the persons introduced are attired in the severe, simple, and characteristic costumes of that period. The Puritans have rushed into a Roman Catholic Church, and just begun to break the statuary, tear down the pictures, deface the walls, and trample upon all that is peculiarly essential to the performance of the more revered rites of that religion. At one side are to be seen a number of females in a kneeling and affrighted posture. Two of these figures are, in all respects, excellent, but a third, which, from her position is the most prominent in the group, seems hardly sufficiently affected by the deeds of destruction going on around her, and the fury depicted in the countenance of a person who, with arms outstretched, and a Bible in his hand, appears to address her in the most violent terms. This man, who stands to the left of the picture, is a perfect type of his class, being full of life and character. There is an altar in the background near the female group, of which we have just spoken. Several soldiers have rushed upon its steps, and two of them in breast-plates, helmets, and armed cap-a-pie, having mounted to the spot where the chalice is laid during the mass, are busy destroying the altar-pieces and ornaments, with their battle-axes. Two more, at a short distance, are occupied, the one in tearing the missal, the other, in breaking the censer. Others further back are still coming in, and following their leaders in the work of destruction. Some men to the left have caught hold of a priest, and are dragging him to death. The church itself, and accessaries, are painted with great truthfulness. The coloring, throughout, is rich, pleasing and natural, and the picture finished with great care. There is a slight deficiency of expression in some of the figures, but this work, regarded altogether, is the best we have seen here of the kind. Since the above was written, this picture has been removed by James Robb, Esq., of NewOrleans, in whose possession it now remains. The other pictures, to which we have alluded, we shall probably notice in the ensuing number of the Review.