Had shared, still questioned the old man, while I The funeral pomp wound slowly; through the still To be continued. ROYAL ACADEMY EXHIBITION. (Continued from p. 299.) WE have not even yet, we find, quite done with the Great Room. The catalogue, on being referred to, calls many pictures to mind which must not be passed over in silence. Sir Thomas Lawrence's Duke of Clarence,' No. 57, is certainly one of these. It is a portrait painted, as to the head more especially, with admirable ease, simplicity, and natural effect: the hat and handkerchief, it is true, are introduced too fantastically and artificially; but let that pass,' in grace to the many and great merits which the painting possesses in other respects. The Portrait of Sir Thomas Strange, by Mr. Shee, No. 47, is another performance which deserves to be distinguished: the head has much animation, and an agreeable tone of colour per.. vades the whole picture. The Lady in St. Swithin's Chair,' from the first volume of Wa verley, No. 43, Sir William Beechey, attracts more by the design than by its colouring: the former displays much intelligence, and strong and appropriate expression. Sir Roger de Coverley and the Gypsies,' No. 134, C. P. Leslie, is a charming little picture, full of expression and sentiment. The character of the old bachelor, the benevolent squire, and the country gentleman of the past age, is exquisitely conceived, and represented with great spirit and feeling. The archness of the idle baggages, in whom it evidently requires no recourse to magic to be able to let the worthy innamorato into the secret of his own intentions, is keen and pleasant. The picture, too, is most agreeably painted; the sitting group in the corner, the prolific hussey and her twins, is delightful. We have seen paintings, by Mr. Collins, more attractive by the force of particular effects than "The Morning after a Storm,' No. 166, the principal work of this academician in the present collection; but we cannot call to mind any one of his productions which shows a more masterly pencil, and the hand of an artist of truer taste, or in which power is more successfully combined with simplicity, and rendered consistent with the absence of display, than in this picture. 'The study of an Ass,' No 191, W. Barraud, we regret to say, escaped our notice: and it is not in our power, therefore, to report to our readers what the title signifies, or with what skill and effect the subject is treated. The name of the artist warns us against lauding the picture at a venture; for we have not the honour of his acquaintance. We feel no incumbency to back him at all hazards; nor, if our conscience would reconcile itself to the playing of such a trick on our readers, would prudence consent to the impudent imposition, lest we should treat the pedant in his library, the artist in his painting-room, the alchymist at his crucible, or the incipient mathematician at his pons, as a jackeyburm in his stall. The catalogue of the British Institution has taught us to mistrust the waggery of our knights of the pallet; to hesitate before we form a notion of the nature of a picture from the denomination by which they, in their exquisite humour, may be pleased to designate it; so, for this turn, The Ass's Study,' or 'The Study of an Ass,' must go without a comment, even should the excellence of the portrait be calculated to provoke the quotation of the proverb, not for the first time so applied : 'A fellow-feeling makes us wondrous kind.' No. 207 is Milton's Reconciliation with his Wife,' M. Boxall, with the passage, 'Soon his heart relented This is a very pleasing sketchy picture, well and feelingly conceived, simply grouped, and touching and expressive in sentiment. The Taje Mahl, at Agra; Mausoleum of white marble, erected by Shah Jehan, for his favourite queen, Miuntanza Zemam,' No. 210, W. Daniel, presents a splendid view of a building from the opposite side of the river Jumna. The architecis most skilfully drawn: the foreground is rich ture is of superb and picturesque character, and in figures and colour, and the whole has a most brilliant effect. But for a work of unobtrusive merit and delightful quality, give us The Return, a Cottage Scene in the Campagna di Roma,' No. 30, P. Williams. What a charming little rich, and warm, and Italian the colouring! and picture is here! How natural the groups! how the little girl holding forth her apron to receive the fruit from her mounted brother; how true! how expressive of the grace of childhood and innocence! And for a study of a donkey, here is one quite alive, and fit for a Sterne to commune with. We have not overlooked Mr. Landseer's 'Illicit Whiskey Still in the Highlands,' No. 20; nor Mr. Turner's The Banks of the Loire,' No. 19. The latter is a gem of the first water, brilliant and beautiful. The former, also, is a masterpiece of the pencil of the clever artist by whom it is executed, and of the nature of the excellence of Edwin Landseer's chefs-d'œuvre who is there that is ignorant? Powerful effect of colour, clever handling, ingenuity of thought, characteristic delineation, and high finish, are conspicuous in this, as they invariably prove to be in every production of the same pencil which admits of those qualities. Bashaw, the property of the Earl of Dudley,' No. 291, is a subject not susceptible of the display of these various qualities; yet is it in its way an exquisite picture, full of spirit, and life, and natural freedom. And now that we have at last turned our backs on the many attractions of the Great Room, and are fairly advanced into the School of Painting, following the plan heretofore pursued, and without attention to the order of the numbering, we shall give precedence to those pictures which, by their conspicuous situation or merits, first call for notice. We shall not be guilty of any singularity in hastening to place ourselves before the Camilla introduced to Gil Blas at the Inn,' No. 246, G. S. Newton. This is one of the best and most finished pictures that that artist has ever produced. Perhaps we do not go at all too far in expressing the opinion, that it surpasses any thing he has heretofore accomplished. The subject, with one exception, is well conceived and skilfully conducted; the painting is executed in a most masterly and artist-like style. The figure of Camilla, except that it is somewhat lengthy, is excellent. The head is beautiful, and full of animation: nor is the 'ruby of the Philippine Isles' wanting to her delicate finger. The novice-like air of her dupe, and the general sentiment which runs through the picture, are no less excellent. But the conductor of one of the best hotels in Valladolid receiving a lady of apparent quality, and with flambeau in hand conducting her to the presence of a supposed distinguished guest, should certainly have had the costume and style of the Hidalgo, and not the air of the keeper of a common venta. Such a figure as Mr. Newton has here represented the landlord, would have been sufficiently in keeping with the Spanish Posada of Mr. Wilkie, but is by no means a characteristic delineation of the proprietor of a fonda in a provincial capital. The portrait of Mr. Soane, by Sir Thomas Lawrence, is truly exquisite. How like, and how living! How flexible the muscles of the face! What ease and freedom in the execution! How full of substance and cloth-like are the habiliments! In this respect, Mr. H. P. Briggs should contrast with it his portrait, No. 264. Not that we trait we allude to, we consider a very successful mean anything invidious to Mr. Briggs-the porone; nor, we are sure, would the artist himself object to our referring him to the example of Sir Thomas Lawrence, for a lesson in the treatment of a coat, since portraits cannot be painted without that very important article in the dress of a gentleman. În Mr. Briggs' performance, in fact, the costume is the only objectionable part of an otherwise excellent picture. On first glancing at the portrait, it is difficult, certainly, to reconcile the character of the principal subject, with the cuirass by his side: the personage, indeed, is sufficiently swarthy to have followed many campaigns under various climes; he is, moreover, duly and darkly bewhiskered, yet is there nothing the man. martial, nothing heroic, in the air and bearing of The pen, too, holds the place of the it may be then, after all, that Mr. Briggs is right. sword, and seems to bespeak some mystery;So, indeed, it proves-the gentleman before us is no soldier, but a man of peace, an antiquary-he is Samuel Lush Meyrick, LL.D., of Goodrich Court, Herefordshire, according to the catalogue, but probably more known to most of our readers, certainly to those of a contemporary monthly periodical; as of the Tower of London. In The Confessional, — Pilgrims confessing in St. Peter's,' No. 293, and The Pifferari Calabrian shepherds playing their hymns to the Madonna when arriving with the pilgrims in Rome,' No. 298,-we have two pictures, by Mr. Wilkie, less finished than those noticed in former numbers, but still most clever, artistlike, and delightful productions. In respect to the beauty of the grouping, the Pifferari has seldom, if ever, been surpassed. 'Hadleigh Castle, the mouth of the Thames, Morning after a stormy Night,' 322, I. Constable, is a picture which convicts the artist who executed it, of being a dangerous subject. The merits and beauties of this performance are such that it almost recommends a manner which the judgment pronounces to be faulty. But for this manner, indeed, the picture before us would be perfect,so grand and picturesque, so free and so bold, is it,-so full of power and effect. Portrait of Mrs. Bolton King, No. 325, I. Partridge, is a charming picture, replete with grace and sweetness, and lady-like delicacy: the * Vide London Magazine,' for Jan. and Feb. ་ drapery is excellently managed-simple, and at the same time of a rich effect. The other accessaries are in perfect keeping with the elegance of the figure and of the attire. The painting is highly and carefully finished. The Loretto Necklace,' No. 337, I. M.W. Turner. Hereby, we presume, hangs a tale; and more, we conclude, is meant than meets the eye. Yet, although in Mr. Turner's most splendid Polyphemus we could penetrate into things veiled to eyes profane-could discern the fiery steeds of the god of day, even distinguishing Pyrois from Eous, and Ethon from Phlegon, although, through the dazzling brilliancy of that gorgeous composition, we could perceive the Naiads, and the Tritons, and the Dolphins, as they wantoned in the waves,-nay, although even the ensign wrought with the story of the Wooden Horse, and of the catastrophe thereby brought on Ilion, escaped us not unheeded,—yet have we not been profound enough to discover the secret of the Loretto Necklace. That rosaries, which we, heretics profane, are too apt to confound with necklaces, and use and wear as such, receive consecration in the most holy pap-boat religiously preserved in the sacred house of the Virgin, which the angels brought from Palestine, and deposited in the woods of Loretto, we are perfectly aware; nor are we ignorant that articles, however insignificant their intrinsic value, when once they have undergone this hallowing benediction, are held in high veneration, and form most acceptable and efficacious presents if borne to a distance, and laid at the feet of some pious donnina, whom a rigid parent, or a spouse too little indulgent, has debarred from visiting in propria persona the miracle-working shrine; yet never did we dream, that, under the very walls which encircle the treasure of Catholic Christendom, a Loretto Necklace would plead with any great effect the cause of an innamorato. We confess, therefore, that, although MAY-TIME:-A WORD IN SEASON. We live amid the sepulchres of various centuries, and make our hearts after the model of the grave. We read the epitaphs, which tell us that those ages had pulses and springs of joy, and remembering that the pulses ceased to beat and the springs to flow for them, we forget that they still live and move for us. We are but melancholy mourners at the funeral of the past, and do not live for ourselves the brave life which might gain to us also an honourable and devout interment. This need not be so. None but a pitiful and punctilious sorrow will spend itself in lamentation for the hearty rites and gorgeous triumphs which illuminated other centuries, which have had their time and passed away. There is, indeed, an iron and encircling law of necessity which forbids us weak slaves of our day and destiny to adorn the earth with the pageants of our forefathers. They are buried in their festal robes; with their wine-cups beside them, and the garlands, which they wore, are withered on their brows. It were a comedian's trick to rob the tomb, and mask ourselves in its spoils. But rightly thought of, they lived for the future, as well as for their native hour. We are downward and clod-bound souls, and, dedicating ourselves to the narrow circle of the world's dust, within which our tether confines us, we forget that we are visited by the airs from distant kingdoms, and sunny seas, breezes rich with odours of other times, and fresh from that fairy-land of the clouds. The earth is but the dregs and poor remains of the living and glowing past. Yet we need but faith to know that all past exists for us; and that all its rejoicings may be celebrated anew in our hearts. The thought and finer spirit of all foregone gladness and virtue lives in our atmosphere. It is but the material dross which stays to be trodden underfoot, and find an infamous burial in the contempt of successors. Wherever in old time was any mystery of rejoicing, there was sown a seed which flowers MAY! how strange have been, at different times, the notions connected with this name! To us, alas! in London, it suggests little more than tinselled chimney-sweepers and gilded revels. Who is there who, in his weariness and dissatisfaction, has not sighed over the loss of the customs which made the May a thing of flowers and gladness, when the heavy tread of labour was lightened into a dance, and the formalities of life burst out with a flush of rose-red and milk-white blossoms? All of us who would ridicule in society the wildness and simplicity of such a lamentation for the silenced laughter and withered honours of the Spring, yet keep behind the veil, with which we hide the sanctuary of our thoughts, an enduring regret for the departure from the land of those blithe May-triumphs. Who is the man that, at one moment or other of existence, has not longed to turn aside from the path made dry and hard by his own footsteps, and to wander, were it only for an hour, were it but for the space of a brief Spring sun-burst, in the green meadows, and among the maiden-sprites of antique visions, with whom poets, five hundred years agone translated to the stars, dreamed themselves singing amid the forest nooks, in love and pure devotion? If such a man there be, for him the May was not ordained; for him the year is despoiled of its young heart and its primrose coronal. Or is there a lady whose bosom heaves under lace and pearls, that has never fancied herself untyrannised by the slaveries to which she is doomed; who has never imagined that she might have been seen by fond and reverential eyes among the morrice-troops, in those old mysteries of seasonable rejoicing; who so distrusts herself as not to have sighed for the blameless freedom of the woods and dells; whose dreams have never shown her any of nature's pageants; whose breast nourishes no flowers for herwe have made the circuit of the Santa Casa on our self, though it wears them for the eyes of others? knees, we are as ignorant as if we never had wanNo; this is not a lady. To all alike descend from dered beyond the sound of the bells of Bow, of the heaven the revelations of an Eden life; and they meaning of the Loretto Necklace, and are provoked see the stags couching beneath the oak, and the to be obliged to avow this our ignorance to the num-rout of children under the hawthorn hedge, and the ber of inquirers who have done us the vexatious shadows of clouds on the sunny meadow, and the honour of demanding explanation at our hands. train, glad in each other's gladness, who dance Mr. Turner should certainly have told his story and laugh around the May-pole. But then, even more explicitly, and saved his critics this mortifi- beneath the bright blue sky of May, and with the cation. At least he might have afforded some clue breezes around us, comes over us the custom, for the guidance or assistance of the invention; and the shudder; and we look away from the but no, he has left us in the dark as to the adven- vista which led along the clouds into that rich ture of the Necklace, and has put us off with a kingdom of romance; and we bow our heads and landscape, delightful and brilliant it must be groan. owned, and considerably, although by no meansentirely, taken from the luxuriant scenery for which the vicinity of Loretto is well nigh as much distinguished as for the passession of the Santa Casa. The composition of this picture is in truth delightful: that the colour is extravagant, cannot be denied; nor can such extravagance be justified in the representation of a natural scene, as in the imaginary one of the Ulysses and Polyphemus; yet is it impossible to regard the painting even in respect to its colour without gratification and admiration. The effect of the gleam which crosses and illumines the scene, is most happy; and indeed, were the tree in the foreground less gorgeous, the rest of the picture might be allowed to pass without any qualification to the highest eulogium. Before next week, perhaps we may be so fortunate as to solve the enigma of the Loretto Necklace. We will pause to make the attempt. In the mean time, we beg Mr. Simpson, Mr. Lee, and Mr. Howard, with several other exhibitors, whose And was there this note of sadness in the melody transversely. The contrary is, in fact, the case, and was works we have now in our mind's eye as worthy companions to those already mentioned as adorning the Painting Room to excuse our postponing for this turn the notice of their meritorious productions. Sir Walter Scott's new novel, subscribed upwards of 4,000 copies; and Lockhart's 'Life of Napoleon Buonaparte, upwards of 6,000. A thousand gay and significant observances have chased each other over the brink of the world, and perished. Every nation has ad national rejoicing in the train of national religion; and the victim was adorned with flowers, and the temple was encircled with its domain of field and forest; and Pan and Bacchus were names to wake the village, and heal the palsy; and Hanuman gathered for this triumph the wise Brahmins and the multitude of shouting followers. Us too the fairies have visited. And Christendom has had its innocent revels; nor was May from the beginning a bare and empty time. And wherefore should it be so now? Why is it of Eve's virgin voice? No: the primal genera- for us. And to those who will it, though the shapes and emblems of old May-time have departed, in the mind there is a subtle and bright renewal of those green festivities, and they hail the leafiness of the forest, and the joy of the world's aged heart, with processions of the fancy and music audible to the purged brain. The true, the genial, admits not of destruction. If in any land has ever been a hearty manifestation of religion, if any where a festivity which recognised the life that is in the changing year, if any where a word of poetry has charmed with a spell the apathy of daily existence, we, late-born, and unknowing, as it is thought, to rejoice, have yet within us the power to reproduce whatever of real and concordant good has been among mankind, and to make ourselves the rich inheritors of what ever gladness, and faith, and hope, has had strength to lift men from the sod. Believe this, and the freshness of old religions is ever with us, and the loveliness of Paganism has not departed from Christian temples; and not only now when every bush seems burning heavenward with a placid and verdant flame, and the winds of the morning are messengers of glad tidings to us from a whole creation of happy beings, not only in these merry bowers of May, but amid the dark and icy dens of December, shall we be able to keep Maytime in our hearts. ROYAL INSTITUTION. [IN the report, in our last number, of Mr. Mason's lecture on Wood-engraving, it was erroneously stated to be the ancient practice to cut the material represented to be so by the lecturer: in other words, it was the ancient mode to work the wood vertically; the modern usage is to cut it horizontally.] On Friday, May 22, a lecture which made halfhours appear minutes, was delivered by Mr. Farraday on the subject of the operation of vibration on the surfaces of elastic substances. After stating that he derived the information he was about to impart to his audience from Mr. Wheatstone, whose discoveries in Acoustics or Phonetics promised to open a new era in our knowledge of the action of sound, Mr. Farraday announced that the particular object of his lecture was the display of a very curious set of phenomena which attend vibration, as they show themselves in the forms taken up by surfaces when vibrating. the communication of vibratory action, the sand The sand on the drum experienced the same was thrown from the vibrating parts to the por-effect which would have been produced on it had tions at rest: at this stage of his observations and it been strewed on the plate of glass itself: it experiments, Mr. Farraday remarked on the ex- assumed a variety of forms, similar to those which cellent test afforded by this effect for showing the it had been shown to take when the experiment regularity of surfaces in the structure of bodies, was made simply with the glass. Mr. Farraday a more accurate one, he affirmed, than even the hinted at the utility of which these discoveries polarization of light; for, if the surface have the might be made, and of their capability of applileast inequality, or the plate be of irregular thick- cation to the purposes of the arts and manufac ness, the forms taken by the sand or powder tures. He showed that already an experiment, similar to that he had tried with the drum, was resorted to in mining districts, where it is the custom to ascertain by filings spread on a drum whether other workings are near, and which way they are approaching: according to the forms in which the filings become arranged, the workmen draw their conclusions of the direction in which the other workings are advancing, and are thus guided in their own operations. In conclusion, Mr. Farraday observed that no satisfactory explanation of the causes of the phenomena which he had been engaged in producing had as yet been offered; but that, the attention of mathematicians being now occupied in the enquiry, much was to be expected from the results of their labours. He even hinted at the probability that in the course of the next season he might have matter of importance on this view of the subject to communicate from Mr. Wheatstone. In the first place, he addressed himself to explain the meaning of the term 'nodal points or lines' which had been adopted to express a parti-strewed on it will be distorted. cular effect to which vibrating bodies are subject from contact with other objects. Such contact, it is well known, arrests the vibration: this is exemplified in the constant and simple practice of putting a finger to a glass that has been struck, to stop the jingling noise. The contact operates on surfaces so as to form points, which remain in a state of repose, while the other parts of the body are in action; hence the name of knots or nodal points, which were first discovered by Messrs. Noble and Piggott, pupils of Dr. Wallace, at Oxford. After this statement, Mr Farraday proceeded to afford ocular demonstration of the nodal effect, by touching a strained wire, fastened at its extremities. Every part was evidently thrown into a state of vibration; there were no points of rest except the ends. The wire having been allowed to resume its state of repose, three pieces of paper were placed near to it, and it was again thrown into a state of vibration: on this occasion, an additional point of rest had been given to it, by contact with one hand of the lecturer, while the other communicated to it the vibratory motion: in this case two of the pieces of paper were cast to a distance from the wire; the third, which was near the point of rest, remained motionless. To carry the simple illustration of the nodal effect still further, Mr. Farraday strained the wire from hooks fastened on the wall; then, having held it between his fingers at one point, while with the other hand he set it in motion, he retired, that the audience might see the effect: both the vibratory motion, and the point at which the wire was at rest, were distinctly perceptible. Another illustration of the same effect was produced by the holding a long cane in the hand, and shaking it. On surfaces, Mr. Farraday went on to say, these nodal points are so numerous, that they become lines. Galileo, it seems, was aware of the effect which formed the subject of the lecture: he had observed that, if bristles were spread on a sounding board, some danced about while others remained still. The Florentine philosopher had also remarked that, on giving the vibratory motion to the edges of a glass which contained water, a portion of the element would remain still while the rest was in motion. A step towards further progress in this discovery was made, in 1785, by Cladné, who applied the violin-how to plates of glass; and, by so doing, acquired various sounds. Liechtenberg, in the course of his philosophical experiments, had strewed some powder on a plate of glass, and brought the knob of a leaden jar to the plate, when the powder arranged itself in various forms on the plate. Cladné hoped to produce a similar effect by strewing sand on a round plate of glass, the edge of which he then scraped with a violin bow; the sand, to his satisfaction and surprise, immediately took the form of a star, with twelve rays, or of a wheel with twelve spokes, or six diameters: he repeated his experiments, and, as he produced higher sounds from the plate and bow, he found the sand thrown into a variety of beautiful configurations. Mr. Farraday pointed to diagrams illustrative of these experiments, several of which he, moreover, performed very successfully himself, to the satisfaction and delight The lecturer, resuming his plates, observed, that every sound on the same surface had a particular corresponding form; but that, in different plates similar form does not imply similar sounds. He then drew attention to the curious fact, that the simplest forms were produced by the lowest sounds; and that in proportion as the latter were higher, the configuration communicated to objects on the surface of the plates became more complicated. A few experiments were made in the presence of the audience in proof of this fact; but the greater number were illustrated by numerous diagrams, and plates of glass, previously arranged on the table: as to these, the time obliged Mr. Farraday to content himself with showing his auditors the way to produce them, assuring them that any elastic substance, a piece of coin for instance, was as susceptible of the effect as glass. In proof of this assertion, taking a half-crown between his fingers with the left hand, he strewed sand on it with the right: with that, he then drew the violin-bow down the edge of the coin, and the sand assumed the same form as he had before shown that it would take on the surfaces of glass plates. Mr. Farraday proceeded to show various modes of preventing the existence of positive diameters formed by the lines which the experiments he had before made had produced; and one of these methods he explained to be, to draw the bow down the edge of the plate immediately behind the point of rest,-another to support the plate the edge, to communicate the motion to the supat its centre by a glass rod, and, instead of vibrating porting rod: a third was, to make a hole through the centre of the plate, and on the edges there to perform the operation. In these instances, it was shown that the sand on the surface might be made to arrange itself in waving and curved and circular lines. of his audience. He then explained that these effects were produced by the contact of the body on which the vibration operated, with other objects; the fingers or tongs, for instance, by which they were held, the props on which they rest, &c.; and that on The objects of curiosity placed on the table of the library on this occasion were three small bronze statues, being authentic figures of Buddha, according with the proportions laid down in the sacred books of Ceylon; a candle made of vegetable wax, (Rhus,) from Japan; a very extraordinary specimen of chrystal; and a cork model of the tomb found near Pæstum, chiefly remarkable for a fresco painting on one of the sidewalls, representing two figures in combat, a third looking on; the figures in colour red, on a white ground. ATHENIAN SCENE. Alcibiades, Cleinias, Aristophanes, Cheræa, Philænis, SCENE. A Room in the House of Alcibiades. Timandra, Speusippus, Glycerium. Alcib.-Thanks to the Gods! Here we, at least, are thy own bright eyes, my Philænis, how gladly would removed from the toils and vexations of politics. By I leave this hydra-headed mob, and all its powers, and all my popularity, to live a life of soft enjoyment with thee! You are not cheerful, my poor girl. By Venus, I think thou art infected with the Nician plague, and lookest but coldly on me. Some wine there! Wilt thou not drink to me, Philænis? Nay, then I care not. Aristophanes, I pledge thee! To our loves. The next division of Mr. Farraday's lecture was no less interesting than that of which we have given this imperfect account. It related to the reciprocation of the vibratory motion, or the communication through the air from the originally excited body to another. Savard's experihe had sprinkled sand on a plate communicating ments on this point were explained and tried; by means of a bridge, such as that of a violin, with a string: the string was the object excited; the plate was found to receive the same sound as the string, and various forms were assumed by the sand. Savard was the first who made known the observation that membranes extended over frames would receive impressions from vibrations near them. This Mr. Farraday exemplified to his audience by experiments with drums formed he does but jest. Thou knowest his privilege. of tracing-paper: instruments of extreme sensibility, as was shown by the effect produced on them by merely breathing, an operation by which the sound became as effectually changed as it would be in the case of a blow on a slackened drum-head. It was observed, that the forms received by membranes by reciprocation, are in accordance with the particular part vibrating in the plate from which the reciprocation is communicated; but that, as the tension changes, the form changes, and the matter on the surface will pass Aristoph.-Thou mayest drink to thy loves as thou Come, find me a long-named girl, a girl who hath all wilt, though may Bacchus choke me an it make not a void in thy cellar, do thou but drink a cyathus to each. the letters of the alphabet in her name; such a girl as I might drink a cask to and not break through the from one form to another. The former fact was Timand. (Half aside.)—Disgusting monster! Timand.-(Half aside.)-A forward minx, to make herself conspicuous before a large party! Clein. What says the fair Timandra ? Clein. In the name of friendship, be quiet. Do not irritate Alcibiades. You know his temper. Right Chian, by my gods! Well, well, Jove grant Arist. Here's to my flaggon! "Tis the only toast. hearts in Athens that can prize it!-A traitor, gentlethee no lack of such liquor, while there are warm men; a Baotian traitor! Alcib.-How now, good Aristophanes? Such words were fitter from the mouth of Nicias than from a friend of Alcibiades! Arist.-Tush! man; hast thou not Copaic eels and anchovies from the Asopus, (the which, nevertheless, are but as dung to the Phaleran,) and dost thou say thou art not in open communication with the Boeotians! Alcib.-And dost thou forget the ten days' truce! Fie on thee, for a shallow politician. Arist.-Dost thou infringe upon an orator's privilege? Thou hast not heard the punishment I inscribe. By the goddess of the lake, thou shalt not taste of her Baotian store! It is not well for young men to have any dealings with contraband goods; therefore will I convert them into mine own exchequer. Behold, I confiscate them unto myself for the good of the city. What sayest thou, Cleinias? Thou wilt not grudge me my prize! Well, thou shalt have thy share, an thou wilt send me the thrush that lies so invitingly before thee. Speus. Is it true, Cheræa, that Nicander, the Cretan, was thrown this morning in the palæstra, by a young Athenian ? Cher.-I was not there. I will ask Cleinias for you. Cleinias! Cher. She is as jealous as Juno herself. Clein. She would be little cured of it by aught she saw in the Ceramicus. I read on the wall this very morning,' Alcibiades loves Philænis, and Philænis loves the son of Cleinias. Weep, maidens of Athens, for the deserted Timandra.' Timand.—This is too much, by Jove! Will it not satisfy thee, barbarian, that your names are chalked together on every wall in Athens: that you are the theme of every tongue, but you must bring me to be a witness of your felicity-your odious endearments! Philan. (Aside.)-My felicity! Oh Alcibiades ! Alcib.-Fear not, my love. How now, what brawl is this? Dost thou disturb my guests with thy jealousy? Is it my fault, if fools will blab, and talk of what they know not? What ho there! a song. Bid the minstrels give the rhapsody they wot of. Clein. What rhapsody does he mean? Alcib.-Hephaestus's advice to Juno, at her husband's table, not to disturb his banquet. Clein.-Nay, be calm, I beseech thee. Stay, stay, Timandra. By Heaven, she will not hear me. Alcib.-Let her begone, an she list, a troubler of my peace! Tremble not so, my Philænis, thy Alcibiades is near thee. I love thee only. Philan.-Would I could believe thee, fickle Alci biades! Alcib.-Nay, if thou weepest, I must e'en follow Timandra. I doubt not thou mayest find comfort here; Athens hath many gallants, besides Alcibiades, to whisper soft nonsense in a willing ear. Philan.-Unkind, unkind! Didst thou but know— Alcib.-Weep not, sweet Philænis, I did but jest with thee. See, I drink to thee; love sparkles round my goblet's brim, and pleasure crowns the cup! Philan.-To be forgotten with the emptying-Nay, for shame! Arist.-Fie, Alcibiades, kissing before strangers! But how's this? we have lost our songstress. Clein.-Philænis shall supply her loss, far better. Alcib.-Wilt thou not, my soul? Wilt thou not sing me the Lesbian song I have loved to hear, when be neath one of the broad planes of thy native woods thou hast poured soft slumbers on eyes long oppressed with care. Well, an thou wilt not sing that, e'en sing what pleases thee. Philæn.—I did not think to have wept again this evening. These tears are not worthy of my mother's daughter. My harp! Oh! say not Lesbian hearts are cold, That Lesbian maids to love disdain ! Oh! say not that for aye are fled The triumphs of the Lesbian lyre; I left my mother, o'er the sea; Won by thy witching tongue to roam; I will not shed the ignoble tear! Or peace, when peace is lost, impart? It blooms in mockery of my woe! Slave. A deputation from the Frytaneum wait on your Lordship, and beg a few moments of your leisure. Alcib.-Say you so? Are they Athenians? Slave. I think the chief of the Ambassadors from Sparta are of the number, and my Lord Nicias is certainly one. Alcib.-Stay, gentlemen. Sooner than Nicias and myself shall meet in friendship beneath this roof, may its pillars fall and crush me!-Unmannered slave, to break thus upon my moments of festivity. Sit, gentlemen, I beseech you. To the mill with him. No words! To the mill! Yet, stay; go back and tell the deputation that I and Sparta are two deadly opposites! Tell Callicratidas, if he be there, that he will find me in the Agora to-morrow. If he come for Athens' good, there I will hear his propositions; if to bribe me, tell him that all the wealth our broad walls encircle could not make me a friend to Lacedæmon. Some wine within and music in the hall! Shall we hear this Rhodian's song? Come, gentlemen. FOREIGN QUARTERLY REVIEW.-No. 7. THE subjects treated of in the present Number of this well-established and improving work, are unusually interesting. Sismondi's Histoire des Français,' holds the first place, and furnishes the text to a very able article. Then follows one on The Language and Literature of Holland,' we suppose by Mr. Bowring. The Ancient National Poetry of Spain' is a hackneyed theme, but one which will bear much working; and the present labourer is an able and experienced one. The writer on Scandinavian Mythology' has written a long preface to defend the propriety of writing on such a topic; the article itself is the best defence, though certainly it will not convince the reader, who could be idle enough to complain of the selection. We have not time to comment on the next article; and its title is a sufficient motive for reading it-it is On Mexico.' The article on Victor Hugo's Poems' is the weakest in the Number, and that on The Foreign Views of the Catholic Question,' the best. That on Von Hammer's History,' we have not read. Taking into consideration the choice of subjects, well as the merit of the articles, we are inclined to think, that scarcely any better Number of this work has yet appeared. as NEW MUSIC. Wilt thou meet me there, Love? Written by the Author of 'Softly o'er the Summer Sea.' Composed, and dedicated to John Sinclair, Esq., by B, Hime. Latour. A VERY gay and sportive ballad, conceived and executed in good style, very easy of performance, and quite acceptable. The accompaniment is written above the voice part occasionally, similar to the well-known piano-forte part to Oh Lady Fair,' and produces quite as pleasing and playful an effect. The admired Quartett from Winter's Opera,' Das Unterbrochene Opferfest,' arranged with Variations for two performers on the piano-forte, and inscribed to Miss Emma and Miss Harriett Wells, by George F. Harris. Boosey and Co. THIS is a well-arranged duet, fitted for performers of moderate acquirements, and yet written with taste and brilliancy. After a short introduction and the thema, six variations, including the varieties of 1, Scherzando; 2, Legato; 3, Briliante; 4, Piu Adagio, (exhibiting some ingenious modulations); 5, Vivace ; and 6, Pastorale; which is expanded to form a Rondo finale. The whole exhibits skill and good style. Deck not with Gems; or, I must have loved Thee, hadst thou not been Fair. A Ballad sung by Mr. H. Phillips. The words by F. H. Bayly, the Music by W. Turnbull. Published by Willis and Co. AN expressive morceau, well conceived, and adapted with considerable judgment. The highest note being only E flat in the fourth space, the piece may be performed by one possessing but a very limited compass of voice. The language is of superior character also, breathing estimable sent; imentand the tout ensemble is excellent. 'Ah che Forse,' a celebrated Air, as sung by Signor Velluti, with an Introduction for the Piano forte, and dedicated to Miss Mary Stephenson, by G.F. Kiallmark. Clementi and Co. THIS admired air is an especial favourite with most of our principal vocalists, Madame Pasta particularly; she first introduced it in one of Rossini's operas, and was at that time said to be the composer of it; but Bonfichi is the name affixed to it, as its author, in most editions. The arrangement now offered (as a piece for the piano-forte) is very judiciously made by Kiallmark, jun.; the Introduction is very appropriate, and the general adaptation is pleasing, graceful, and in excellent taste. Trip it, trip it, gentle Mary.' Sung with unbounded applause by Madame Feron. The Words by J. Cowen, the Music by Charles Salaman. Willis and Co. A PLEASING trifle, but too insignificant and commonplace to require or deserve much notice. Donna Maria da Gloria, the Queen of Portugal's Waltz. with Variations for the Piano-forte, composed and dedicated to Miss Mary Ann Barry, by George F. Harris. Monro and May. THIS is not the Queen of Portugal's waltz, so well known, with variations by Gelinck, but an original air composed by Harris, with six very ingenious and characteristic variations, comprising the subjoined varieties: No. 1, Legato; No. 2, A Tempo giusto, (in triplets); No. 3, Maestro; No. 4, Brillante; No. 5, Con Grazia; and No. 6, An Allegro and Coda. The whole forms a very desirable piano-forte piece, highly useful for teachers, and pleasing for their pupils. No.3. The Beauties of Rossini, for the Flute and Pianoforte, containing Bel raggio lusinghier,' from Semiramide, arranged by W. Card, published by Himself. MR. CARD'S arrangement exhibits good taste, and he ticed in The Athenæum,' (No. 79, page 270,) an inevinces in this publication as well as in the one we notimate acquaintance with his instrument, the flute. The first and second numbers of this work, were similar adaptations of the admired airs' Una Voce poco fa' and Elena o tu;' and as concertante pieces for the flute and piano-forte, they must be unusually acceptable, for they are so very well adapted to the respective instruments. 'Canst thou Forget me?' Canzonett, written by Mrs. Leoni Lee, composed by John Barnett. Mayhew and Co. A LARGHETTO espassionato in D, written in a very beautiful, expressive, and impassioned style; and admirably adapted to the language, which is also of a superior description. Considerable ingenuity is evinced in writing the voice part, within the compass of a few notes, (easy to be performed by most vocalists,) at the same time contriving to adapt harmonies of a very choice and scientific character in accompaniment to it. Barnett has taken infinite pains with this subject, and has been eminently successful. No. II. of Twelve Italian Fantasias Concertante, for the Flute and Piano-forte, containing Meyerbeer's' Nel silenzio,' in 'Il Crociato in Egitto,' and Rossini's 'Non piu mesta,' in 'La Cenerentola;' arranged by Raphael Dressler. Cocks and Co. DRESSLER is indefatigable in his exertions to form a library for the flutist, and his success is proved by the quantity of his arrangements published. This second number is quite equal to the first, (noticed at page 104 of this work,) and presents a brilliant and showy divertimento. It is published as op. 73, and dedicated to Tulon. position simple, and some of the figures call Bunbury to mind, while the two females are Stothard's own, pure, naïve, true, and elegant: the plate is clear and spirited. LODGE'S CANZONETS. We regret that the space which we allot to our musical criticism has been so far occupied as necessarily to exclude a long notice of some Canzonets, by John Lodge, Esq., which reached us late in the week. Were we willing to abbreviate our correspondent's remarks, they might be admitted in our present number; but, as we are always anxious to pay particular attention to those compositions which stand out from the common herd so conspicuously as these do, we shall reserve his observations upon them until our next publication. VARIETIES. Hers's celebrated Quadrilles of 35, arranged for two and Co. and which must afford equal pleasure in the recalling or supplying the impressions of scenery,-needs but little introduction, at our hands, to the renewed occupation of all drawing-room and sofa-tables. The views, of which the gallant artist's present number consists, are each characterised by some peculiar charm of its own, as well in the happy selection of subjects as in the who seek a praise by dispraising others, that they do prodigally spend a great many wandering words in quips and scoffs, carping and taunting at each thing, which, by stirring the spleen, may stay the brain from a thorough beholding the worthiness of the subject. Those kind of objections, as they are full of a very idle easiness, (since there is nothing of so sacred a majesty but that an itching tongue may risk itself upon it,) so deserve they no other answer, but instead of laughing at the jest to laugh at the jester. We know a playing wit can praise the destractive discretion of an ass, the comfortableness of being in debt, and the jolly commodities of being sick of the plague : so, of the contrary side, if we will turn Ovid's verse: 'Ut lateat virtus proximitate mali :' 'That good lies hid in nearness of evil,' Agrippa will be as merry in the showing the vanity of science, as Erasmus was in the commending of folly; neither shall any man or matter escape some touch of these smiling railers. But, for Erasmus and Agrippa, they had another foundation than the superficial part would promise. Marry, these other pleasant fault-finders, who will correct the verb before they understand the noun, and confute others' knowledge before they confirm their own: I would have them only remember, that scoffing cometh not of wisdom; so as the best title, in true English, they get with their merriments, is to be called good fools; for so have our grave forefathers ever termed that humorous kind of jesters.-Sir Philip Sidney. French Critique on Milton.-Milton is a LIST OF BOOKS PUBLISHED DURING THE WEEK. Landor's Imaginary Conversations, Second Series, 2 vols. 8YO., 288. The Course and Probable Termination of the Niger, by Sir R. Donkin, 8vo. 9s. 6d. Stories from the History of Greece, by Sarah Lawrence, second edition, 18mo., 3s. 6d. Jesuitism and Methodism, 2 vols. post 8vo., 18s. Flora Historica, or the three Seasons of the British Parterre, by Autobiography, vol. 27, Memoirs of Vidocq, vol. 3. 18mo., 3s. 6d. Vestry Library, vol. 1., containing Hall's Contemplations, vol. 1., 12mo., 5s. Castle's Modern Surgery, second edition, 78. John's History of the Hebrew Commonwealth, 2 vols. 8vo., 11. 1s. Lord Morcar, of Hereward, a Romance, 4 vols. 12mo., 17. 2s. Genlis's Traveller's Companion, in Two Languages, English and German, square 12mo., 3s. 6d. Tales from the German, 7s. CARPETS. admirable truth to the most delicate and evanescent barian, who writes a commentary is a tedious bar-WHITE and METCALF have the honour to aspects of nature. The little town of Trendelburg with its towers, its wooded slopes, and the cool and clouded ripple of its waters,-the more imposing natural fortresses of Saxon Switzerland, broken apart by deep chasms, and climbed by forests of pine,-the sunny bosom of the Weser, decked with the masts and spires of Bremen,-the massive piles of Copenhagen, and the fanciful old English gables and cupolas of Fredericksborg, form the carte of this most exquisite entertainment. We must not forget the pretty woodcuts which accompany the letter-press department of the work, which, however, do not offer any features so remarkable as to call for individual notice. Draught Horses; engraved by W. Giller from a painting by A. Cooper, Esq., R.A. A MOST appropriate employment of Mezzotinto! for surely this style of the art can never be more suitably or more effectively employed than in the representation of grey horses. This plate is a very spirited one, and in the form of the animals, which are fine, characteristic, and animated, Mr. Giller has done ample justice to Mr. Cooper more for him we could not say. Elizabeth, Duchess of Devonshire: engraved by C. F. Lewis, from a drawing by Sir Thos. Lawrence. We do not remember to have seen an engraved portrait of this estimable patroness of the arts. The present is but a sketch: but it is a sketch by Sir Thomas. Scaramouch's Last Pinch: engraved by Daniel Allen from u Painting by Thomas Stothard, R. A.; the explanatory motto from the Spectator. He one day took such an unreasonable pinch out of the box of a Swiss officer as engaged him in a quarrel and obliged him to quit this ingenious way of life. THIS is all over a work of the good old school. The humour is pleasant, the expression forcible, the com rumbling verse on the first chapter of Genesis. He is a slovenly imitator of the Greeks: he disfigures creation, and instead of producing the world by the fiat of God like Moses, sets the Messias to bungle at tracing announce that their new, and truly splendid patterns in Brussels Carpets, designed and manufactured exclusively by this Establishment, are now ready for inspection, in Qualities infinitely superior to any before offered, and suitable for either the Mansion or Cottage. Highest Price 4s. 3d. per yard. Navarino House, Lamb's Conduit-street. out with a pair of compasses of celestial manufacture. MENTAL ALIENATION.—The Medical He spoils Tasso's hell and devils; and makes Satan a casuist in divinity. Upon the whole, the Paradise Lost' is obscure, whimsical, and disagreeable. Pastoral Life.-The shepherd's life, had some goodness in it, because it borrowed of the country quietness something like ours; but that is not all; for ours, besides that quiet part, doth both strengthen the bodies, and raise up the mind with this gallant sort of activity. O sweet contentation! to see the long life of the hurtless trees! to see how in straight growing up, though never so high, they hinder not their fellows! they only enviously trouble which are crookedly bent. What life is to be compared to ours, where the very growing things are ensamples of goodness; we have no hopes, but we may quickly go about them, and going about them, we soon obtain them; not like those that have long followed one, in troth, most excellent chase, do now at length perceive she could never be taken, but that, if she staid at any time near the pursuers, it was never meant to tarry with them, but only to take breath to fly farther from them. He, therefore, that doubts that our life doth not so far excel all others, let him also doubt that the well-deserving and painful Therion is not to be preferred before the idle Espilus; which is than sheep, nor the stags more goodly than goats.— even as much as to say, as that the roes are not swifter The Lady of May, a Masque, p. 228. We are requested to point attention to the Concert of Mr. and Madame Schültz, which is advertised in another page. In addition to the first rate foreign and native talent already known to the English public, they have engaged several foreign vocalists of great eminence, who have never yet appeared in this country. as also the Parents and Guardians of Patients labouring under Imbecility of Mind, are respectfully informed there are now vacancies in an establishment recently founded, and of a very superior and peculiar description. Only six cases are admitted, each patient may (if required) have a separate apartment and attendant, and the modern continental plans of moral management are carefully pursued, under the personal superintendence of the proprietor, who resides in the house with his wife and family. Cards of address, and full particulars, to be obtained from Mr. Balieu, Foreign Medical Bookseller, Bedford-street, Bedford-square. Terms moderate, considering the superior accommodation and advantages. POTTEEN WHISKEY.-C. DONOVAN, Wine and Spirit Merchant, 6, Howard-street, Norfolkstreet, Strand, whose house was the first established in Lon don for the sale of Whiskey, at full strength, has for sale remarkably fine Potteen Parliament. 185. 148. to 188. Scotch and Irish. C. DONOVAN has a few dozens of rich Red Mountain in pints, and Burgundy in quarts, which he will sell at a moderate price. These Wines were part of the stock imported by the late Spanish Ambassador, and having been seized by the Excise were sold to the Advertiser. R. KITCHINER'S ZEST.-This incompaPoultry, Fish, &c., the sole invention of the late Dr. Kitchiner, and repeatedly mentioned by him in The Cook's Oracle,' is now prepared from the Doctor's original recipe, and likewise sold by JAMES BUTLER, Herbalist and Seedsman, CoventGarden Market, whose name is written on the direction for its use, without which none are Genuine. The Zest is particularly adapted for families travelling, imparting its delicious taste on immediate application. It will keep for any time, în any climate.-Sold also by Messrs. Knight and Sons, Italian Warehouse, 83, Gracechurch-street; and by Mr. Hickson, Italian Warehouse, 72, Welbeck-street, Cavendish-square; and Mr. Lazenby, 46, Lamb's Conduit-street; in bottles, 2s. 6d. each. |