gnat, makes the elevation of the Aurora amount to some thousands of miles! The next theory may possibly lead us up to the moon, but it certainly seems more advisable to keep a little nearer terra firma, particularly as Dr. Richardson's observations in North America seem to shew that the Aurora in reality has its origin near the region of the clouds, though often varying in its altitude. Still, notwithstanding the attention that has been paid to the subject, and the various hypotheses that have been imagined to explain the Aurora, there does seem a want of information on some points most necessary as bases of induction.

One thing seems certain, that this phenomenon is connected with electricity, and with changes of temperature, for extraordinary mutations both in that and the weather followed the uncommon exhibition of the Aurora I have been adverting to. The wind from the north-west veered to south the next morning, and before evening blew strong in gusts from the south-west, with heavy showers of rain and occasional flashes of lightning, manifesting the presence of electrical excitement. The south-west gales having thus commenced, continued for an unprecedented length of time, and vessels were detained in consequence to such an extent, that at one period during the winter nearly 300 sail were detained at Liverpool, vainly waiting for an easterly wind to waft them across the Atlantic.

Some telluric disturbances, according to the learned Mr. Clarke, in an elaborate paper in Loudon's Magazine of Natural History, always accompany appearances in the atmosphere; and to this cause he attributes the extraordinary meteors of 1833. "All point out" he says "1833 as a peculiar year, the result of that great volcanic cause which has shaken the earth, the sea, and the air, and rendered the last few months more memorable for earthquakes, floods, meteors, and hurricanes, than any on record since 1348."

The connection between the appearance of the Aurora Borealis and gales from the south-west deserves especial notice, since a naval captain of considerable experience has observed that by constantly making for port after a brilliant display of the Aurora, he

An old work entitled "Time's Telescope" (for there is nothing new under the sun) published in 1734, thus mentions the Aurora.-" Aurora Borealis, or Northern Lights, vulgarly called Streamers, or Merry Dancers, because they mix and shuffle, like a set of country dancers, or like the streamers of a great fleet on the main in a windy day. Strange are the conjectures of the unlearned concerning this appearance in the heavens: some imagine they see armies of men, horses and chariots fighting in the air, which they take to be sure presages of war, &c." Indeed in confirmation of this, Florence of Worcester, and Mathew of Westminster, in describing portentous appearances in the air in the years 555, 567, 743, 776, &c. which were no doubt Aurora, designate them as "fiery spears seen in the air". "appearances as it were of lances, &c." It has been thought, too, that a brilliant Aurora was visible in Germany just before Julius Cæsar's death, for several authors observe that a crackling noise is heard when the Aurora is very bright; and Virgil, in his 1st Georgick, in reference to this says

"Armorum sonitum toto Germania cœlo Audiit."

The sound of arms in the air was heard throughout Germany.

has escaped danger, when his less fortunate compeers have been wrecked. So that in this respect, science may probably contribute in future to the safety of the seaman, by directing his attention more particularly to this phenomenon, with a view to precautionary measures; and thus humanity may be taught to hail the Aurora as the friendly beacon designed by Providence to be a precursor of the gale, and thus act, not as the vulgar believe, as the companion of superstition, but as the hallowed guardian of human life.

These are the uses of researches into science and natural history ;-while the idle observer gazes with alarm on phenomena like these, the true philosopher, ever on the alert to detect the workings of nature, finds that the most secret operations in her laboratory have an object of utility in view, demonstrating the consummate wisdom of an Almighty Governor.

"I believe the observation is new, that the Aurora Borealis is constantly succeeded by hard southerly, or south-west winds, attended with hazy weather and small rain. I think I am warranted from experience to say constantly, for, in twenty-three instances that have occurred since I first made the observation, it has invariably obtained."-"The benefit which this observation on the Aurora Borealis may be of to seamen is obvious, in navigating near coasts which extend east and west, particularly in the British Channel. They may, when warned by the Aurora, get into port, and evade the impending storm; or, by stretching over to the southward, facilitate their passage by that very storm, which might otherwise have destroyed them." Captain Winn, in Rennie's Field Naturalist Magazine, March, 1833.

It is probable, however, that sailors have in reality taken advantage of the presage afforded by these appearances, long prior to this intimation of Captain Winn's, for I remember on the morning after the luminous arch of Sep. 29, 1828, hearing a bargeman on the Severn remark to a comrade, that "the sky-rocket," as he termed it, of the night before, would be sure to be followed by a gale of wind.

FINE ARTS.

The national importance of the Fine Arts is a point now so universally conceded that we deem no apology necessary for devoting to their consideration an adequate share of our pages. A feeling for the Arts has been too coldly cultivated in this country for the fair developement of that genius which the works of the BRITISH SCHOOL, in the nineteenth century, most triumphantly display; but we cannot help cherishing an expectation (probably born of our hope) that something like the auspicious patronage of the ancients, will at length extend fitting encouragement to-and diffuse a vitality through every branch of the arts of design, that shall put forth fruit in due season, and place us at least on a par with the other nations of Europe. To remove the necessity for calling into exercise the invention of foreigners in preference to that of our own countrymen is, indeed, an end worthy of attainment. We by no means admit that such" necessity" does actually exist, but we know that it is alleged in defence of a most injurious and unpatriotic prejudice: and yet how unjustly, past and present experience are not wanting to prove. Aided by British enterprize, British genius in the potteries of Etruria rivalled the most exquisite conceptions of Grecian beauty and elegance, and under the direction of Flaxman, that sculptor of immortality, the unfashioned and valueless material rose moulded into forms of classical grace and purity, coveted by kings, and worthy of comparison with the happiest creations of antiquity. Many similar proofs could be adduced, to which thousands might be added if once the scales fell from the eyes of our countrymen, and they could be brought to recognize the presence of excellence or of simple merit and accuracy in a native production. While we would do justice to all-to France, to Italy, to Germany, or to any other part of the Continent, we would take care that Great Britain maintained her superiority in arts, as she has always done in arms, and we would lead Englishmen to an intimate communion with that genius which they have, unhappily, overlooked in a yearning after the productions of antiquity, or of alien contemporaries. We are neither bigot-nor partisanbut we confess that we are moved by an ardent solicitude for the advancement of all that can contribute to the glory and prosperity of the empire. We profess not that undesirable "liberality"-that frozen philosophy which turns the telescope on the luminary of our "father-land," and proclaims with unwearied vigilance, the number and magnitude of the spots on its surface; or which dissects the social and political structure of the same, and apathetically announces the disease that may have abated its strength, or the paralysis that may have warped its proportions. We consider that latitude

of sentiment may be carried too far, and that to shake hands with anti-national prejudices, to echo the hue-and-cry of the envious, to join in the sneer and to disseminate the calumny or misconception of the narrow-minded defamers of Britain, is to purchase the name of " a liberal" and " a philosopher" somewhat too dearly. Ad ogni uccello, suo nido e bello, or rather ought to be; a leaning towards our hearth, our home and our country, is honorable to all,-the source of virtue private and public-the stay and security of a kingdom. And so, gentle Reader, we in our critical capacity will always endeavour to sustain the honor of Old England by demonstrating her excellence in the arts of design, and this we can do openly and candidly without tarnishing the merits of her competitors, or offering up truth as a sacrifice to zeal. We would, however, be distinctly understood as intending to discharge the duties of our office with even-handed justice, praising and censuring not according to our partiality or pique, but according to the best of our judgment dispassionately and truly; and " having conscience and tender heart," we doubt not "to do our spiriting gently." With these preliminary remarks we shall close the page of profession, choosing rather to be estimated by our fulfilment than our pledge; for it is in truth so easy-so alluring-so very very agreeable to dwell upon the fair things we mean to do, that one of tolerable fancy and fluency may write himself up to the seventh heaven, before he has exhausted his foolscap, or new-nibbed his pen.

EXHIBITIONS, &c.

Exhibition of Modern Works of Art, Athenæum, Foregate-street, Worcester, MDCCCXXXIV. The first.

WE hail this exhibition as a gratifying proof that at a period when a passion for the arts as well as sciences, is gradually awaking all over the empire, when city after city, and town after town are rising into eminence and taking their station among the enlightened and refined, WORCESTER is not less susceptible of the glorious rivalry, nor less adequate to the task of appearing with honor in the lists. The members of the Worcester Literary and Scientific Institution have established a claim to public acknowledgment in projecting and getting up this display of modern art. A great sensation had been created by the announcement of their wise and liberal intention, and many of our most distinguished metropolitan artists, together with several local painters of brilliant acquirement, seconded the object of the Institution by forwarding selections from their works; added to this the surrounding nobility and gentry, anxious to assist the effort, with equal promptitude transmitted choice specimens from their galleries and cabinets. The array consequently was strong, and the vein rich in quality: by Monday, the 2nd of June, the arrangements were completed, and the room was opened to the public. As the pictures have been now some time on view, and have been amply criticised in the Worcester papers, to enter into descriptive details would be superfluous; the pleasure of dwelling minutely upon the excellence of the Athenæum Exhibition must be reserved for the next annual display. At

present we may touch briefly upon a few of the principal objects of attraction. For the reasons we have given, ours will be but a running glance. Six specimens by the late P. Reinagle, R. A., grace the walls; of these, "116-A Distillery on Fire," is the most striking in point of effect; the wild glare of the flames; the vivid and singular reflections; the dense obscurity of the masses unillumined by the conflagration; and the dimmed and struggling light of the moon half veiled by drifting clouds, produce a powerful impression; the depth, transparency, and tone of this inimitable picture, entitle it to a high rank in art; Vander Poel never painted a finer scene. "20-Hampstead Heath, an effect after rain," is a very captivating morceau, subdued and verdurous, with a solemn breadth of shadowy blue in the distance. R. R. Reinagle, R. A., exhibits two. "1-A Ludy and her Daughters," broadly and vigorously painted, and " 30-A Young Lady," the portrait of a sweet, animated and ingenuous-looking girl;-this picture is one of the happiest productions of the artist's pencil. Stanfield's view of "L'ile Berb on the Soane" (the property of the Rt. Hon. the Lord Northwick), 190, is an exquisite picture; air, earth, and water are depicted with a fidelity and beauty incomparable. "170-River Scene," with a dun and threatening sky, is not so felicitous. S. Smith contributes eleven very charming pictures; woodland scenery; the far-spreading champaign; the lone village; the mountainous districts of Cumberland; the beach, with its grey cliffs and wild headlands; and the broad ocean, with skiff and boat tossed upon its bosom, form the subjects of his pencil. Taste and feeling, much practical skill, and a fine disposition of objects, are manifest in these specimens. “144—Keswick," is an admirably chosen view; the execution free yet delicate, and the colouring bright and glowing, without a sacrifice of "tone." "147-Near Eastbourne," is a delightful little bit ; and the sea views are exceedingly attractive, clearly coloured, and finished with much beauty of handling. To complete their impression, a degree more of local tint might be desired in this artist's performances; that he is studious of excellence we can perceive from a glance at his works; let him dip his pencil a little more freely in the soft blues and greens, and thousand varying hues of nature, and his success will be secured. C. Calvert has two very pleasing landscapes-" 6,” and “153.” H. H. Lines sends nine of extraordinary claim; among them are some of the most brilliant and bewitching little gems which we have had the good fortune to behold; in touch, sparkle, tone, colour, depth, and transparency, they are without superior. "13-The Woods at Maxstoke;" "44-View on the Irwell, Manchester;" 76-an enchanting view of "Malvern :" "117-The Terrace-Haddon Hall;" "159-Monks Hopton, Salop;" "146—A Lane with a beech tree;" and "181-Trees from Nature," are specimens of the very highest class in the landscape department of art; the figures introduced are pure diamonds-all glitter and beauty. His principal picture is "124-A Floodgate at Perry Bar," the property of W. Roberts, Esq. a splendid performance, indeed, with a force of colour and power of execution which we have seldom seen equalled."177-Upton Cressett Church, Shropshire," is a finely painted interior. P. F. Poole; "14-A Cottage Girl at a Spring" with a beautiful expression of simple village nature, and a touch of pathos in the character; the head, hands, and feet are drawn with purity, and carefully detailed; the tall fox-glove, the earthen pitcher, and the silver droppings of the water, are delicately elaborated; a greater fulness of pencil or discrimination of surface is all that remains to be desired. J. Pitman has six pictures. "89-A Stag's Head," possessing con

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