dogs, deducing all the other varieties from the shepherd's dog, variously affected by climate, and other casual circumstances. This variety in Britain is small and weak; but in France, and among the mountains of the Alps, large and strong, and is sometimes called the wolf dog.

SHEPHERD'S DOG.

The characters of this variety are, that they are sharp-nosed, erect and sharp-eared; very hairy, especially about the neck, and have their tails turned up or curled; they are naturally the most sensible: they become, without discipline, almost instantly, the guardians of the flocks: they keep them within bounds, reduce the stragglers to their proper limits, and defend them from the attacks of the foxes and wolves. In temperate climates, they are very numerous, though greater attention has been paid to the rearing of more beautiful kinds, than to the preservation of this race, which has no recommendation but its utility, and for that rea son has been abandoned to the care of the sheep farmers. Notwithstanding their inelegance, and melancholy aspect, they are superior, in instinct, to all others: they are of a decided character, independent of education, though, no doubt, that improves them: guided solely by their natural powers, they apply themselves, as it were spontaneously to the keeping of flocks; an employment which they execute with amazing fidelity, vigilance, and assiduity: their talents at the same time astonish and give repose to their masters, while other dogs require the most laborious instruction to train them to the purposes for which they are des

tined.

The first subordinate variety of the shepherd's dog is,

THE POMERAIN DOG, LE CHIEN LOUP, OR WOLF DOG,

Of Buffon. Linnæus describes it as having longer hair on its head, erect ears, and its tail very much curled. The second,

THE SIBERIAN DOG,

A variety of the former, very common in Russia. The other varieties in the inland parts of the Russian empire and Siberia, are chiefly from the shepherd's dog; and there is a high-limbed taperbodied kind, the common dog of the Calmuc and independent Tartars, excellent for the chace, and all other uses.

THE DANISH DOG.

This is the largest of dogs, and is of stronger make than the greyhound. Buffon mentions his having seen only one of these; that when sitting, was about five feet high. Such perhaps were the dogs of Epirus, mentioned by Aristotle, and those of Albania, the modern Schirwan, or East Georgia, so beautifully described by Pliny, of which the fol lowing is a translation:

While Alexander the Great was on his march to India, the king of Albania sent him one (viz. a dog) of unusual bigness as a present. Delighted with his appearance, he ordered bears, then wild boars, and last of all, deer, to be turned out loose before him. The dog, through contempt of such game, lay still without seeming to take the least notice of them. That high spirited prince, provoked at such indolence in a creature of such size, ordered him to be put to death. Fame carried the news to the king. Therefore sending him a second, he added this message, that he should not wish to try him on small beasts, but on a lion or an ele phant; that he had only two; that if this were

slain, he should have none left. Alexander did not delay, and soon saw a lion quite overpowered. Then he ordered an elephant to be brought, and was never more entertained with any sight. Bristling up all his hair over his whole body, he opened upon him with a bark like a peal of thunder. Instantly he begins the attack, rising against the elephant, now on this side, now on that, with artful combat, attacking or retreating, as he saw it necessary, till, by continually wheeling round, he at last brought him to the ground, the earth being greatly shaken all around by his weighty fall.

ACCOUNT OF

MR. CARTWRIGHT,

THE

PERFORMER ON THE MUSICAL GLASSES,
At the Lyceum, in the Strand.

R. CARTWRIGHT is a native of Eng

Mland, and was under the tuition of a danc

ing-master, for which profession he was intended. He danced at the early age of five years before his present majesty, at the Theatre Royal, CoventGarden. He then became a rider, and was the first who ever rode the horses in Paris, and the second who rode them in Dublin; but in consequence of an injury sustained from a fall (for he encountered the most dangerous positions), he discontinued this exercise. He studied the musical glasses at the age of fourteen, and is the only person who ever brought that harmony of all harmonies to perfection, His first public performance on them was at Oxford, then at Bath, &c. He played on them at Paris, before the late Queen of France, and at Aberdeen was presented with an elegant medal, by the Northern Shooting Club, a society of the most

distinguished characters, as a token of their high approbation. About 1775 he married the daughter of the Rev. Dr. Ward, of St. Catherine's, a most respectable family in Ireland, and having a won derful genius for mechanism, opened a Fantoccini in College Green, Dublin, far superior to any ever exhibited! Diller, the inventor of fire-works with inflammable air, having left Paris some short time before the revolution in that country, joined Mr. Cartwright, who not only discovered the art of these fire-works, but made considerable improvements in them. His daughter likewise plays upon the musical-glasses; and, in order to assist her father's exhibition, which has met with considerable success throughout England, she has lately attempted a theatrical entertainment, sola, in which she has displayed much original humour, and discovered abilities peculiar to herself. This performance is entitled

THE SEVEN AGES OF

WOMAN ; OR, BELLES

HAVE AT YE ALL.

A Parody

ON

SHAKSPEARE's SEVEN AGES OF MAN.

Written by Mr. Oulton; the Music by Mr. Davy.

THE "world's a stage," and true the saying→→
For many parts we're always playing-
Some boast of country-seats for scenery,

Of dress, and very fine machinery;
While several of inferior station,
Know nothing about decoration-
How many can full BOXES draw,
Make their appearance with eclat ;
While others can exert no pow'rs,

But, like poor strollers, "fret their hours."

For COMEDY, the ball-room enter,
Thalia reigns there in the centre !
For TRAGEDY, see many a mourner-
And FARCE you'll find in ev'ry corner!
Thus "players all," as Shakspeare says
The "men and women," tis a fact-
And one man "seven ages" plays-
As many too the women act.

Since players, like the men we find them,
They must have characters assign'd them,
While this great world the stage is,

Be it my present effort then,
To prove, as well as gentlemen,
They have their seven ages.

SONG.

Dear ladies, you'll be kind I trust,
Attend a sister's call;

A play-house picture shou'd be just→
Then Belles have at ye all.

Shall it be said, no part we take

In this theatric ball?

I'll ev'ry lady actress make

So belles have at ye all.

If maids, or wives, or widows gay,
Whatever lot befal,

I'll hit upon the parts ye play,
Then belles have at ye all.

Of no effect would be life's scenes,
The incidents how small!
Did we not furnish ways and means-→
So belles, have at ye all!

And now the curtain rises, and discovers
A pretty babe, amidst parental lovers!
The scene-a cradle !-such the infant age!
When Miss appears the first time on the stage!
Now gossips throng around the little creature,
They find the mother out in every feature.