and supernatural philosophers; some, an admirable delight drew to music; and some, the certainty of demonstration, to the mathematics. But all, one and other, having this scope to know, and by knowledge, to lift up the mind from the knowledge to lift up the mind from the dungeon body, to the enjoying his own divine essence. But when, by the balance of experience, it was found that the astronomer, looking to the stars, might fall into a ditch; that the inquiring philosopher might be blind in himself; and the mathematician might draw forth a straight line with a crooked heart; then love did prove the over-ruler of opinions, make manifest that all these are but serving sciences, which, as they have each a private end in themselves, so yet are they all directed to the highest end of the mistress knowledge, by the Greeks called Architicktonike, which stands, as I think, in the knowledge of a man's self, in the ethic and politic consideration with the end of well doing and not of well knowing only; even as the sadler's next end is to make a good saddle, but his farther end, to serve a noble faculty, which is horsemanship. So the horseman's to soldiery, and the soldier not only to have the skill, but to perform the practice of a soldier; so that the ending end of all earthly learning being virtuous action, those skills that most serve to bring forth that, have a most just title to be princes over all the rest; wherein, if we can show the poet's nobleness, by setting him before his other competitors, among whom, as principal challengers, step forth the moral philosophers, whom methinketh I see coming towards me with a sullen gravity, as though they could not abide vice by daylight; rudely clothed, for to witness outwardly their contempt of outward things, with books in their hands against glory, whereunto they set their names, sophistically speaking against subtilty, and angry with any man in whom they see the foul fault of anger; these men casting larges as they go, of definitions, divisions, and distinctions, with a scornful interrogative, do soberly ask, whether it be possible to find any path, so ready to lead a man to virtue, as that which teacheth what virtue is? and teacheth it not only by delivering forth his very being, his causes and effects; but also, by making known his enemy, vice, which must be destroyed, and his cumbersome servant, passion, which must be mastered, by shewing the generalities that constraineth, and the specialities that are derived from it. Lastly, by plain setting down, how it extendeth itself out of the limits of a man's own little world, to the government of families, and maintaining of public societies.

The historian scarcely giveth leisure to the moralist, to say so much, but, that he laden with old mouse-eaten records, authorising himself (for the most part) upon other histories, whose greatest authorities are built upon the notable foundation of hearsay, having much ado to accord differing writers, and to pick truth out of partiality, better acquainted with a thousand years ago, than with the present age; and yet, better knowing how this world goeth, then how his own wit Funneth curious for antiquities, and inquisitive of novelties; a wonder to young folks, and a tyrant in table talk, denieth in a great chafe, that any man for teaching of virtue, and virtuous actions, is comparable to him. Jam Suæ vitæ, Temporum magistra; vita memoriæ, Nuncia vetustatis, &c. The philosopher (sayeth he) teacheth a disputative virtue, but I do an active: his virtue is excellent in the dangerless academy of Plato, but mine sheweth forth her honourable face in the battles of Marathon, Pharsalia, Poictiers, and Agincourt. He teacheth virtue by certain abstract considerations, but I only bid you follow the footing of them that have gone before you. Old aged experience goeth beyond the fine-witted philosopher, but I give the experience of many ages. Lastly, if he make the song-book, I put the learner's hand to the lute, and if he be the quide. I am the light.

POPULAR SCIENCE.

'How charming is divine philosophy!
Not harsh and crabbed as dull fools suppose,
But musical as is Apollo's lute.'
MILTON'S Paradise Regained.

I. ANIMATED NATURE. And God said, let them have dominion over the fish of the sea, and over the fowl of the air, and over the cattle, and over all the earth, and over every creeping thing.'—Genesis.

1.-ANIMAL MECHANICS.

Forms of the Ear.-The funnel, or outer ear of animals, is adapted, with remarkable skill, to their different habits of life. In hounds, swine, and other animals, which require to attend to low sounds, the outer ear is either pendulous or movable, to compensate, it should appear, for their difficulty of moving the head. Were their ears not constructed in this manner, hogs, while eagerly digging for roots, and hounds, when

keenly pursuing their game by the scent, might fall into danger, which their hanging ears readily intimates, by catching the lowest sounds that float along the ground. In beasts of prey, the outer ear is directed forward; in timid animals, again, which are always in danger of attack, the outer ear is very large, and usually directed backwards, though it is very moveable. The ass and the hare are notable examples.

Birds, correctly speaking, have no external ear, except a tuft of stiff feathers placed close to the entrance of the ear. A funnel, like that of quadrupeds, would have obstructed their rapid motion through the air in flying. The tuft of feathers, from being non-conductors of sound, must tend to impede hearing, were this not compensated by the provision which is made to them for a different purpose, namely, for rendering them buoyant; for the air-vessels do not, as in other animals, terminate in the lungs, but extend, in numerous branches, through the whole body, even to the bones themselves. The sounds, therefore, which are stopped, or muffled, by the feathers of the bird, will be rendered more distinct from the greater quantity of air contained in all parts of the body.

2. ENTOMOLOGY.

The Hop-fly.-The knowledge of science is frequently invaluable to practical men. We have a striking example of this in the depredations committed by insects in the hop plantations. The great numbers of the well known insect, the lady-bird, or lady-cow, (Coccinella,) which swarm during part of the summer upon hops, induce many hop-growers to suppose that they are the depredators; while, on the contrary, they resort to the hop grounds to feed upon the hop-fly, (Aphis,) and its larvæ, which destroy the hops by sucking the juices of the leaves and young shoots. The larvæ, or grub, of the lady-bird, also feeds upon the aphides, and tends to diminish their destructive numbers, both in the hop grounds and in flower gardens, where similar species of aphides infest the young leaves and buds of roses, China asters, beans, and other garden-plants, and are confounded, in common parlance, under the vulgar name of blight, with a multitude of other insects, as well as with cold winds, parching suns, &c.

3.-CONCHOLOGY.

The Oyster Lamp.-M. de Lavage remarked, on opening an oyster, a shining blueish light, resembling a star, near the centre of the shell, which, on nearer examination, he discovered to be phosphorus. On scooping it out of the shell, it extended nearly half an inch in length; and, when immersed in water, seemed in every respect the same as artificially prepared phosphorus. The oyster in which this was discovered was perfectly alive and fresh. The light could not, therefore, proceed from any decomposition of the shell or the animal, but must have been derived from some other source. Upon examining this phosphorescent substance by the aid of a microscope of considerable each beautifully luminous, like miniature glow-worms, power, it was found to consist of various animalcula, lighting up their starry lamps to illuminate the dark solitary chamber of the shell, and intended, perhaps, like the enchanted lamp of Armida, to lure within its reach such marine inhabitants as it might prey upon.

4. ICHTHYOLOGY.

feet long, and weighed 350 pounds. It was ascertained by a ring of gilt copper affixed to it, that it had been put into the water by the Emperor Barbarossa in the year 1230, proving it to be at least 267 years old.

5. ORNITHOLOGY.

The Dodo.-In most works of natural history, a figure is given of a singular-looking bird-squat, bunchy, and purfled, as if it had been bundled up to be squeezed into a travelling-box-its neck shortened, and its head set out at an angle of about forty-five deegrees, not unlike a goose falling asleep. This bird, if it be a bird, has been called the Dodo; but it does not appear that any one has seen such an animal. There are fragments, however, said to have belonged to Dodos, in more than one museum. Among these, are mentioned a head and two feet, which do not appear to be fellows. The Dodo is said to be a native of Madagascar and the Mauritius, where a tradition of its existence is still current, similar, perhaps, to that of the Roc of the Arabian Nights. Be this as it may, some of our ornithologists are still sanguine that specimens of this rara avis in terra,' may, perhaps, be procured from the east coast of Africa. It seems to be ascertained, beyond a doubt, that it has long disappeared from Madagascar and the neighbouring islands, if it ever ex

sted there.

Fascinating power of Cats.-The fascination of serpents is beyond a doubt, though it is often disbelieved by those who are afraid of obtaining a reputation for credulity, and who delight to feed their vanity by rejecting opinions that are deemed vulgar or common. The celebrated Montaigne was not a person who could be accused of credulity, and he informs us, that near his house, a cat was observed, watching a bird at the top of a tree. For some time they mutually fastened their eyes on each other, and at length the bird let itself fall as if dead into the cat's claws;-either, he remarks, being dazzled by the force of terror, or by some unknown attractive power in the cat.

Hedge-hogs omnivorous.-Man is not, it should seem, the only animal that can with justice be called omnivorous, feeding on animal and vegetable substances in some measure indiscriminately. The hedge-hog appears to possess an almost equal variety of tastes with ourselves. Mr. White, of Selborne, had his gravel walks ploughed up and disfigured by the hedge-hogs digging for the roots of plantain (Plantago major,) which they ate from the bottom upwards, leaving the foilage untouched. The common opinion that they live upon fruits is so far correct, but they cannot procure nuts and apples all the year round, and must find substitutes when these are not to be had. Mr. Buckland had one which killed a snake and devoured it, and it is not therefore, improbable, that they will eat frogs, lizards, and other reptiles. In London, they are kept in a tame state to destroy the black-beetles, or cockroaches, (Blatta Americana,) which infest the sunk floors, and in this domestic state they are fed upon milk, bread, &c.

7.-ANTHROPOLOGY.

Advantages of two Legs.-It is a shrewd remark of the distinguished French philosopher, Cabanis, that few animals are better fitted for speed than man. Savages can, in many cases, run down the animals which they make their prey; and in Europe professed pedestrians will outstrip the fleetest horse, who only succeeds by reducing his four legs to two in the act of galloping. The hare, the stag, and the grey-hound follow the same principle; and the ostrich, the cassowary, and the bustard, with only two legs, will in most cases outstrip the best blood horse.

Effects of Darkness and Light on the Eyes.-M. Richerand informs us, that an English gentleman, who had long been imprisoned in a dark cell, came at length to distinguish the smallest object, in consequence of the great enlargement of the pupil of his eye. He was in course of time liberated, but when he returned to the light his eye could not bear it, and the pupils contracted so as wholly to efface the aperture.

II. NON-ANIMATED NATURE.
'The meanest flow'ret of the vale,
The simplest sound that swells the gale,
The common sun-the air-the skies-
To him are opening Paradise.'

GRAY.

rooted itself, as is erroneously supposed, in their bark, and fed on their juices, it might merit the accusation of a destroyer, but it derives its nourishment wholly from the ground, where it is rooted; and the supposed roots on the bark of trees are only tendrils or hold-fasts to enable it to climb. The opinion of its injuring trees seems to have arisen (and very naturally too) from the fact, that it prefers to climb up a dead or dying branch, and will not attach itself to very young wood at all. Mr. Reptan, the landscape gardener, gives numerous facts to show that trees overrun with ivy, so far from being injured by it, grow most luxuriantly. Evelyn says, that when ivy is stript from trees, they are often killed by the cold in the ensuing winter.

2.-BOTANY.

Self-sown Seeds.-It is a very remarkable fact, well known to florists, that self-sown seeds usually produce natural flowers, whatever the plant may have been from which they were scattered; that is, however fine in colour, size, or form, a flower may have been rendered by cultivation; when it is allowed to shed its seed on the ground, the plants thence arising will again degenerate into the common appearance of its wild original. We have a striking instance of the fact in our own garden at this moment, in the case of the carnation poppy, (Papaver rhoeas) which is so much admired when double and varied in colour; and we had some last year of numerous shades, and as double as garden roses. Several seedlings from these came up last autumn, and stood the winter, and are just come into flower; but all of them are of the same orange-red tint with the wild corn poppy, and nearly single. Had the seed been saved, and kept out of the ground till spring, the same double flowers, of varied tints, would have been produced. In the case of heart's-ease, (Viola tricolor) which sports in so many beautiful varieties, a similar degeneration takes place the self-sown seeds producing almost uniformly small, dingy, blossoms, of little beauty, compared with the fine varieties produced by carefully drying the seed, and keeping it for some months out of the ground. Balsam seed, it is said, will not produce fine double-flowered plants unless it be kept for nine years.

3.-MINERALOGY.

Salt Springs of Cheshire.-The highest proportions of pure muriate of soda, (common salt,) which has 'been found in the salt springs in Cheshire, is 26,566 per cent.; but 25 per cent. is the more usual proportion. The earthy salts, which are held in solution along with it, are muriate of magnesia and sulphate of lime, (Paris plaster,) varying from six-tenths to 2, or 2.5, per cent. -Geological Trans.

4.-GEOLOGY.

Filling up of Lake Superior.-About a thousand rivers and streams empty themselves into Lake Superior, sweeping in sand, primitive boulder stones, and drift timber, which sometimes accumulate so as to form islands in the estuaries. A lignite formation, indeed, is said to be now in progress similar to that of Bovey, in Devonshire, Within a mile of the shore, the water is about 70 fathoms; within eight miles, 136 fathoms; and the greatest depth of the lake, farther from the shore, is unknown. Lake Erie, from similar causes, is gradually growing shallower. Long Point, for example, has, in three years, gained no less than three miles on the water.

5.-METEOROLOGY.

com

Local Storm.-When Mr. Scoresby, sen., manded the ship Henrietta, he, on one occasion, experienced on the Greenland Sea a tedious gale, accompanied by snowy weather. As the wind began to abate, a ship came up under all sails. The master hailed the Henrietta, and inquired why she was under closereefed top-sails in such moderate weather. On being told that a storm had just subsided, he declared that he knew nothing of it, though he had observed a swell and a black cloud a-head of his ship, that seemed to advance before him, until he was over shadowed by it, a little while before he had come up with the Henrietta. He had had fine weather and light winds the whole day.

6.. OPTICS.

Light of the Moon. When we look at the full-moon, in a clear night, the light, in a short time, becomes painful to the eyes; because, say some philosophers, reflected light has more effect upon the eyes than direct light. MM. Bonguer and De la Hire found the proportion of the moon's light, to that of the sun, to be 300,000 to 1. When concentrated to a focus by means of a burning glass, the moon's light gives no heat. 7. ASTRONOMY.

Weight of the Inhabitants of the Sun.-As the sun is more than one hundred times larger than the earth, and

Bone Manure.-Experiments have lately been made with bones reduced to dust, or broken into pieces of the size of a walnut, for manuring land; and it has been found to be very beneficial in silicious, sandy soil, in the quantity of thirty-six bushels per acre; but, in calcareous, stony land, the bones seemed to have no effect whatever, though laid on in still greater quantity. 2.-GARDENING.

Peat Earth. To an inexperienced eye, peat earth, so much used for growing American plants, &c., would appear, from its dark colour, to be as rich as the best vegetable mould; but it is not so, in fact; for we often find tracks of peat land as barren as the desert. The excess of vegetable matter, indeed, appears to be injurious rather than useful, and requires to be less in quantity, and to have its fibrous texture destroped. Unless it is connected by a mixture of the firmer eartths, it is too porous and loose; too easily saturated with moisture, and too easily freed from it.

3.-MECHANICS.

Naval Windmill.-In a recent Number of the Mechanic's Magazine, which, we are glad to observe, improves like old wine in its age, we are told of the ingenious application of a windmill to the pump of the brig Hannah, Captain Bartlett of Plymouth, which had sprung a leak; and, being exposed to continued gales for thirty-five days, all hands were quite exhausted. The windmill made 2400 strokes of the pump per hour when the wind was blowing fresh, and finally saved the vessel.

PHILHARMONIC SOCIETY.

Argyll Rooms.

THE last concert of the season, on Monday, was as admirable as any of its predecessors, and, to the satisfaction of most of the orchestra and subscribers, was led and conducted by two of the most clever, worthy, and amiable men, that adorn the musical profession, namely, Mr. Weichsel, and Dr. Crotch. To many who enjoy the pleasure of knowing these gentlemen, it seemed rather a remarkable coincidence, that two such highlyesteemed artists, of peculiarly cultivated talents, kind disposition, and bland manners, should by accident have been elected to conclude the season with eclat.

because Mozart's beautiful Trio deserves the most perfect execution and unlimited attention.

No. 3.-Concerto Pianoforte, Mr. Pixis, composed by himself, (op. 100!) in the key of C, ostensibly, but occasionally in every other possible key! The Adagio (in A flat, 12-8 time,) we thought rather specious, and pantomimical, although evincing considerable fancy and ability; but, unfortunately, it has become necessary to have recourse to eccentricity, to create a sensation, and agree with the popular taste. The Rondo Allegretto Scherzando (in 2-4 time) was gay and playfnl, but, as is the fashion, finished in as quick a time as possible; for, after repeated piú moto's, and piú mosso's, he writes, ancor poco stringendo il Tempo!' and the whole concludes as fast and furious' as can be produced.

Johann Peter Pixis was born at Manheim, in 1788; he has been a celebrated pianist from the age of twelve years, and received his principal instructions from his father, who was organist of the Reformed Church at Manheim, since the year 1770. Upon the present occasion, his manner and performance was clever, cool, and collected; and, in a remarkeble degree, reminded his auditors and spectators of poor Weber, by his composition, style, and personal demeanour, general and particular, even to the aquiline nose and spectacles. His composition was a finished and excellent Concertante for all the principal instruments; and, with his performance comprised, we think, the excellencies of every school, without producing any thing like commensurate credit and applause. It has been objected, that Concertos for Pianoforte, &c. should not be Concertantes so immediately obligated for all the various instruments; but when a composer enjoys the means and talent of producing a poetic and fine concerted piece of writing, he acts patriotically, and independently in doing so; for, perhaps, in proportion as he exhibits other professors and their instruments, he places his own particular performance at a discount. Upon the whole, Pixis deserves to be recorded as a most experienced, careful, and talented composer, and an exceedingly clever, well-practised, and perfect performer. No. 4.-Song, Mr. Phillips, Revenge! Timotheus cries,' from Handel's 'Alexander's Feast.' An example of ancient Music was regarded as a novelty at the Philharmonic, which, with the singer, received considerable applause. The beautiful and classical piece of writing, accompanied only by two tenors, two bassoons, and the basses, was well performed by Ware, Challoner, Mackintosh, and Tully, supported by the numerous and excellent violoncellos, and double basses, of the orchestra *. The first act concluded with Weber's Overture, Der Beherrscker der Geister,' which possesses no particular features to commend or decry.

Mozart's superb sinfonia op. 38, in C, denominated universally the Jupiter Sinfonia,' from its unsurpassed merit, was performed as usual with the utmost enthusiasm and devotedness, and listened to with profound attention and respect. Praise and description are alike unnecessary; and we can only compliment the dilettanti upon their good sense and taste, in enchoring the middle movement.

The Concert commenced with Beethoven's 8th Sinfonia, (op. 93,) in F, which, perhaps, is more difficult, No. 7. Scena, Madame Stockhausen, Quelle hornoisy, and eccentric, than pleasing, as a whole, although rible destiné,' from Rossini's Mosé in Egitto. It may parts shine out in the brightest manner. The first be proper to say, that Rossini has re-written a great movement (an Allegro Vivace con brio, in 3-4 time,) part of his fine Oratorio or Opera last year in Paris, illustrates our first position, but the Allegretto Scher- and in the French language, of which Madame Stockzando (in B, 2-4 timme) bear us out in the second, for it hausen's grand scena forms a delightful specimen. is a delightful piece of playfulness, exhibiting singular Perhaps the most concise information may be received talent, but unusually difficult as to time. It went off exfrom the following copy of the title under which his new arrangement is published, viz:- Mòise, Opera ceedingly well, and was encored solely from its merit. In the Trio which follows the Tempi di Menuetto, the en quatre Actes, represente pour la première fois, sur author has written an Arpeggio for the violoncello, (in le Théâtre de l'Académie Royale de Musique, le 26me accompaniment to the clarionet and horn solos,) which Mars, 1827. Dedié à Monsieur le Vicomte de la Rocheis extremely difficult; and upon all previous perform-foucault, Aide-de-camp du Roi, chargé du Departement ances, Lindley has executed the ungrateful office by himself, but, upon this occasion, (as it has been almost impossible, from the overpowering tone of the horn, for the violoncello to cope with it,) all the performers which, no doubt, was Beethoven's intention; and the that instrument joined with Lindley in the task, effect was infinitely improved. The last movement, Allegro Vivace, abounded with clamour and hard fiddling, which seemed a sort of labour in vain.

upon

No. 2.-Terzetto, 'Cosa sento,' Madame Stockhausen, Mr. Begrez, and Signor De Begnis, from Mozart's Le Nozze di Figaro. This most enchanting, and inimitable piece of excellence in vocal music, went off tolerably well, though not in the highest perfection-the male singers being extremely inattentive to the time, to the apparent annoyance of their amiable female companion, the better part of their auditors, and the orchestra generally. We notice this with the greater readiness,

des Beaux Arts, par G. Rossini.' It appears that this scena is performed in the place of the beautiful aria in 'Porgi la destra amata,' the original arrangement, and is principally in the same key of E. In the new exibited in the first allegro agitato, in the minor key, piece, the pathetic touching, and feeling complaint, was characteristic and effective in the extreme, and the remarkable modulation into the major, at the words 'Grand Dieu, j'implore ta clémence!' created surprise, delight, and admiration, in the minds of all the connoisseurs, particularly of Dr. Crotch, as it should appear by the smile of approbation exhibited upon his countenance; and some of those whose conceit and prejudice overbalances their talent, chose to say that

* Mademoisselle Sontag had offered, and promised, to sing a piece gratis in the place of this song, but, at the Saturday's

rehearsal, sent intelligence that her unexpected engagement would prevent her.

MR. LANE'S PICTURE OF THE VISION OF JOSEPH.

[We very readily give insertion to the following letter, containing an ingenious apology for the principal faults in Mr. Lane's great painting, which we noticed in a former Number of The Athenæum.' Much might be said in answer to the apologists, but we shall content ourselves with repeating an observation we made on the former occasion, that the great masters are to be copied in their excellencies, and not followed in their errors. No authority will excuse an absurdity. Genius alone can have that prerogative; and, admitting this, we cannot, we think, be accused of establishing a precise line at which imagination may or may not be allowed to separate itself from common sense.' Mr. Northcote's letter appended, is extremely interesting, and must be highly gratifying and satisfactory to the artist to whom it is addressed; we need scarcely add, that we concur as earnestly and heartily in the generous wish it breathes, as any of Mr. Lane's unqualified admirers.]

To the Editor of the Athenæum. SIR,-Permit me to make a few observations, through your paper, on the subject of the anachronism imputed to Mr. Lane's picture of The Vision of Joseph.' A liberal and ingenious writer, in The Examiner,' has proved, I think, irrefragably, that the anachronism does by no means exist, at least, in the ascribed degree; but, admitting the fact, I should be glad to understand by what canon of criticism the precise line has been established in art, at which imagination may or may not be allowed to separate from common sense, in the vulgar acceptation of that phrase.

It is evident from the examples of all the great masters, that they never considered their art amenable, for one moment, to the laws of mere probability. I forbear to cite Rubens or the Venetians, whose extravagancies, nevertheless, are more nearly allied to the philosophy of art, than at a first glance may be imagined; but I adduce as an authority, comprehending all others on such a question, Raffaelle, the legislator of style, the painter of propriety. Of all men he had most accurately investigated the intellectual, as contra-distinguished from the mechanical principles of his art; and of all artists, his departure, I will not say from fact merely, but from possibility, is the most daring and unscrupulous. In the picture of the School of Athens,' the poets, artists, and philosophers of Greece, Rome, and modern Italy, are assembled in the most familiar juxta-position. In that of the defeat of The Saracens at Ostia,' Leo the Tenth receives the homage of the captives, and in another, he repulses Attila from the gates of Rome. These incongruities, however, are trifling compared with those exhibited in the greatest of all Raffaelle's works, The Heliodorus.' Here appears Pope Julius the Second, borne in by his officers in proper costume. They are wholly inattentive to the miracle which is passing before their eyes, although the astonishment of a group of women adjacent to them is excited by it, and the High Priest continues quietly praying at the altar, while angels, equestrians, and plebeians, dart across the pavement and expel the Pagan Captain from the temple. Can we imagine, if these be inconsistencies, that Raffaelle was not aware of them, and that he had not considered every mode of treating his subjects? No; but he knew that his purpose was to produce a great work, and he discarded the lesser for the larger and more comprehensive idea of propriety. He knew that splendour and magnificence, that diversified situation of expression, were indispensable to his design, and that he could not exhibit the full magic of his art if he hesitated to call up such spirits as were capable of obeying

him.

Every one conversant with the works of Sir Joshua Reynolds, must recollect with what earnestness that great artist and critic inveighs against the error of those who are prone to entertain narrow and contracted theories to the distrust of the feelings and imagination. I desist, however, Sir, from pursuing a subject, the discussion of which would occupy too large a space in your columns, requesting only your insertion of the following letter, addressed by Mr. Northcote to Mr. Lane, a testimony of which has been given as voluntarily as generously, and which, coming from so high an authority, may, perhaps, more effectually advocate the merits of Mr. Lane's future claims than any arguments which I am myself capable of adducing. I have the honour, &c.

B.

Dear Mr. Lane.—I have seen your picture of the 'Vision of Joseph,' which at first sight so surprized me, that at once I gave it unbounded and unlimited approbation, I saw that it was the effusion of a pure unadulterated mind. The picture has a solemn and religious dignity, wholly new to paintings in England, and seems to perfume the fetid atmosphere of the present cloudy air of British Art. And it gave me great

and heartfelt pleasure, because I hope it will have a tendency to curb and regulate the childish, if not vicious, taste, which at this time prevails, and that we may be made ashamed of the depravity of taste which seems to ride triumphant, and not be captivated only by what is vulgar or meretricious, by sickly affected sentiment, or the disgusting and hackneyed display of modern battles and bloodshed.

The chasteness and beauty of your 'Madonna' is a rich example of female purity and loveliness, and in point of execution may, without any disadvantage on your side, stand in competition with Guido or the Caracci. Your conduct of light and shadow in the picture, in my opinion, is eminently skilful. Indeed, the picture has a power in the mechanical part of the art which I did not expect; the whole is animated by a fine feeling, and possesses great originality and invention.

I most sincerely hope it may do you all the good which you so justly deserve; and remain, dear Sir, your most sincere friend, and very humble servant, JAMES NORTHCOTE.

Argyle Place, May 28, 1828.

ENGRAVINGS.

Scraps and Sketches, by George Cruikshank, to be contin ed occasionally. Robins and Co., Paternosterrow. London, 1828.

THIS is a collection of Forty-two Sketches, etched on six separate plates, each half-dozen being illustrative of some one general subject, and the whole full of the humour for which the artist is so deservedly celebrated. The first plate contains seven illustrations of the use and abuse of wooden legs. The second is a general satire on the enormous bonnets of the present day. The third contains pictures of high and low life. The fourth has a view of Crockford's, with appropriate accompaniments. The fifth is devoted to law and lawyers, with sketches of what are humourously called Gentlemen of the Bar. And the sixth contains very whimsical illustrations of the March of Intellect.

Among so many etchings, it is great praise to say, there are absolutely none without point, and the greater portion are full of genuine humour. Among the most striking, may perhaps be mentioned Bonnet Building,' representing a body of female architects, erecting a huge pile for the head of a fashionable lady, and using ladders, tackling, and all the aids required in the construction of a lofty edifice.- Ignorance is bliss,' represents two fat and powdered footmen at a nobleman's door, in all the ease of well-paid indolence -one asking the other, What is taxes, Thomas?' and the other very naïvely replying, I'm sure I don't know;' and the whole of the plate illustrative of the Age of Intellect,' which is full of the most whimsical figures and associations.

Cologne on the Rhine. Engraved by James H. Kernot, after a Painting by Clarkson Stanfield. Dedicated to Lord Northwicke. Colnaghi, Son, and Co. London, 1828.

We have not, for a long time, seen a more beautiful print than this; whether the interest of the subject, or the manner of treating it, be considered. The assem

blage of Gothic edifices, picturesque vessels and boats, busy groups, sparkling water, and a fine summer sky, produce altogether a most striking and pleasing effect. The drawing is perfect; and the engraving, which is in the best line manner, is of the very first order, in the proof impression that lies before us.

Picture of Organized Nature in its Spreading over the Earth. Translated from the German of Wilbrand and Ritgen. Smith and Son, Mapsellers, Strand. London,

1828.

We have classed this work under the head of Engravings, because its chief feature is the large plate, or picture, on which the display of Organized Nature is printed pamphlet, full of the most interesting details, made; but, we should add, this is accompanied by a explanatory of the plate itself, and containing more useful information, in a small space, than is to be found in any similar publication with which we are acquainted. It exhibits, in short, all the principal features and peculiarities of the earth, in its mountains, rivers, seas, lakes, and even animals and vegetables, in so interesting and lucid a manner, as to make it one of the most pleasing and profitable works that can be placed in the hands of an inquiring youth of either sex, or even persons of maturer age.

Extraordinary Prints at Colnaghi's.

We have been favoured with the sight of some very extraordinary prints in the possession of Mr. Colnaghi, of Cockspur-street. They are copies, of the size of the originals, of three celebrated paintings, The Nativity, by Pietro da Cortona; The Crowning with Thorns, of Vandyke; and The Crucifixion, by the same artist. The prints measure seven feet by five; and, if we mistake not, have been executed each on four copper-plates. It is not, however, for its size only that the work is remarkable. It is rendered still more so by the fact, that the single impressions in the possession of Mr. Colnaghi are the only ones known, or ever heard to be in existence; a circumstance most difficult of explanation. It is superfluous to add, that the plates are lost. The work appears to be by the hand of a foreignersome mystery hangs about the name; but this cannot affect the singularity of the work, which is intrinsic. Its merits consists in the boldness of the attempt.

NEW MUSIC.

6 Sadly I left Her;' written to the Melody of an admired Ranz-des-vaches, of the Canton of Appenzell, by William Ball. Birchall and Co. 2s.

THIS Ranz-des-vaches is of a pleasing, romantic, and highly characteristic nature, and we think the arrangement and adaptation of the words well made. The air chosen is alternately in A minor, and A major (6-8 time;) but the sinfonia is, unaccountably, in 3-4 time. The harmonies are judiciously applied, and evince a good musical knowledge, feeling, and taste.

No. 2. of Select Subjects, from Haydn's Creation and Seasons, newly adapted as Divertimentos for the Pianoforte, by J. B. Cramer. Cramer and Co. 4s. recommending the 1st Number of this very desirable We enjoyed the pleasure of examining and warmly and attractive publication in the 8th Number of the Sphynx,' last August; and, certainly, from the union of the names, Haydn and Cramer, nothing less than a work of the highest merit could be expected. But, perhaps the most estimable quality (or at least the most useful) is, that although arranged in Cramer's best style, they are but of very moderate difficulty. In the present Number the selection (entirely from the 'Creation,') is as follows: The chorus, 'Awake the Harp, the Lyre awake,' forms a spirited introduction in D, to 'Heaven now in fullest splendour shone;' this, by excellent and ingenious modulation, passes into With verdure clad,' arranged in its original key, B flat; and the finale (again in D) is formed of the beautiful duet, "The 'dew spangled moru;' the whole is exceedingly clever, whether regarding expression, brilliancy, or harmony.

" Ah, tho' my Harp neglected stands;' a Ballad, sung by Miss Graddon, the Poetry by W. Moncrieff, composed and dedicated to Mrs. Moncrieff, by J. Blewitt. Dale, 1s. 6d.

A VERY pleasing trifle (in E flat, 6-8 time.) The words and music are well adapted to each other, and are both written in good taste; the general sentiment and character, reminds one of Bishop's Song in Aladdin, Are you angry Mother,' but the resemblance is accidental.

6

Scena Recitativo, Basta! Basta!' ed aria, Del fallo m'avvedo.' The words from Metastasio's La Morte d'Abelle. Sung by Mr. A. Sapio; composed, and respectfully dedicated (by permission) to the Right Honourable the Committee of the Royal Academy of Music, by C. S. Packer, Member of that Institution. Chappell. 3s.

A VERY correct, clever, and well-imagined production, certainly exhibiting excellent promise about the incipient production of so young a writer. We cannot but fear that the vocal part, being necessarily written (to be sung by A. Sapio) in the bass clef, this scena will scarcely obtain circulation sufficient to render it popular, and to repay the expense of publications but it deserves, therefore, the greater credit, from the independence with which it is offered to notice.

The recitativo abounds with ingenious modulation, and must be very effective with orchestral accompaniments; the andante Larghetto (in a flat, 3-4 time) exhibits a pleasing aria to the words Del fallo m'avvedo;' and the concluding Presto Furioso, is clever and characteristic.

Six Italian National Airs, with an Accompaniment for the Spanish Guitar. Ewer and Johanning, 3s. THIS is a desirable selection of Italian Ariettas, prettily arranged, and well adapted for the guitariste