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INNOCENTE. This term implies a simple, artless manner of performing a strain, without any marked features of expression. The preceding dramatic scene, written by poor Chatterton, that never to be forgotten youth, may serve as an example.

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MRS. SALMON Was the pride of English singers. Nature had lavished upon her a voice, extensive, sweet, and powerful, with a warbling flexibility never attained by art. Her tones were not only pure, but rich; and the manner in which she threw them out gave them a liquidity that steeped the ear with delight. Her voice partook more of the powers of an instrument than of a singer, especially when unshackled by words, to which, in fact, she paid but little attention. Her object was tone, with execution, and in this respect she surpassed every other performer. Her voice had all the color of the rainbow, and her great faculty was that of adapting the color of her tones to the note she had to perform : naturally warm, her notes had a refulgent glow; yet she could cool them down to the mild ray of a moonbeam. Depending upon these superior gifts, she was careless to a fault in her mode of using her words; in this respect she was more to be censured than admired. Her power of sustaining a note was remarkable ; and the neat manner in which

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she recovered her breath was an example to all singers. Her execution was delicate and felicitous; and her fancy unbounded. That beautiful ornament, the shake, sparkled in her voice with all the lustre of a diamond; and though lavish in the use of it, she never abated the first sensations of delight. She introduced a second-rate song of Handel's, ' From mighty kings,' which she sung with such dazzling effect, that she made it always the prime object of the feast. Whatever she adopted, no one presumed to touch-such was the charm of her voice, and the magic of her powers !

THE SHAKE.

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This embellishment is the most refined of all the graces. Peculiar to this country, and not much practised by foreigners, it is never unwelcome to an English ear, and is considered as an indispensable requisite to every great performer. It is rather ornamental than graceful, and its application to melody is like the use of brilliants in dress, to adorn that which would otherwise appear flat and vulgar. As the shake is purely artificial, it rarely enters into the passions ; it belongs solely to the beautiful, and is seldom omitted where taste and elegance are united. We never can execute it with -a just expression, unless the vowel upon which it is performed is favorable to the production of a pure and

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