146 PINE ARTS. 



The Goblin Quadrilles. Composed for the Piano-forte by Caldei* 

 Canibell (INIadras array). London : T. E. Purday, 50, St. Paul's 

 Church-yard. 



Mk. Cambell has eertainly not been inspired by the "goblins," 

 " spirits of fire," " water spirits," and " elfins," whom he has in- 

 voked both singly and conjointly. Of a truth they have treated 

 him very scurvily. He has done all that he could to assist them in 

 their revels ; and lo and behold how they have rewarded him ! One 

 might have expected, at any rate, something of the elfin character 

 about these quadrilles, something to make the hair stand erect, some- 

 thing hissing and boiling over, in consideration of the meeting of the 

 fire and water spirits. All this it was rational to look for, and we 

 accordingly did look for it. How were we astonished, then, on look- 

 ing over the first page, to find it flat as ditch-water, or, to use a more 

 savory simile, as champaigne that ought to be up. When we had a 

 little recovered from our first amazement : " O, O !" said we to 

 ourselves, " this must be one of your surprise concerns ; there's 

 something terrible over leaf, depend on it." In this belief, it was 

 some time before we mustered courage to proceed ; and when we 

 did so, it was something in the manner of the frogs of old approach- 

 ing King Log after his first splash — slowly and cautiously. Like 

 them, however, we soon found there was nothing to fear, and that 

 Mr. Calder Cambell was totally innocent of any but the most lamb- 

 like, simple, and every-day ideas. Really, it is not the nerves of 

 every one that could stand such trials often ; and we do hope that 

 when Mr. C. " again doth write" he will either brush up his en- 

 thusiasm, if he have any, to the proper pitch, or else light upon a 

 rather less formidable title for his lucubrations. 



Book of Musical Varieties. By Richard Sutton. 



If each of the names on Mr. Sutton's subscription list was avail- 

 able for recuniary as well as for ostentatious purposes, he has, we 

 think, no reason to complain of the success of his speculation. He 

 is, we dare say, in condition to snap his finger at our criticism ; but 

 we wish to say a few words to his subscribers and to those who may 

 be so unlucky as to be canvassed in future. What IMr. Sutton is 

 pleased to call " good feeling" is utterly inadmissible in such cases. 

 Consider yourselves, for the time being, as the guardians of the in- 

 terests of the art : let no personal motives of friendship induce you 

 to patronize a work which you know to be unworthy of patronage. 

 Or, if '• good feeling" is to be admitted, shew yourselves really 

 friendl^^ and sincerely advise the " composer" to avoid committing 

 himself before the public, and robbing his friends' pockets. What, 

 indeed, can be more impudent, more insulting, in the would-be com- 

 poser, than thanks to his friends for supporting his work, without 

 reference to the merits of that work ? to speak plainly, for raising a 

 subscription to enrich the modest Mr. Sutton, or whoever he may 



