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acute ones as low, and that this connec- rived, or of what substances it is comtion was afterwards changed to contrary, posed. by the less ancient Greeks, and has since prevailed universally, Probably this latter connection took its rise from the formation of the voice in singing, which Aristides Quinctilianus thus describes: Γίνεται δὲ ἡ μὲν βαρύλης, κάτωθεν αναφερομένω το πνεύμαλος, ἡ διξύτης, επιπολῆς προϊεμένα. Gravity takes place, if the breath is carried upwards from the lower part of the throat, but acuteness if it rushes forth from the higher part.”

Dr. Smith says, "The Greek musicians rightly describe the difference between the manner of singing and talking; they considered two motions in the voice, avec duo: the one continued and used in talking, μir ouvexhs te nài hoyin; the other discrete and used in singing, ἡ δε διασηματική τε και μελωδική. In the continued motion, the voice never rests at any certain pitch, but waves up and down by insensibie degrees; and in the discrete motion it does the contrary, fiequently resting, or staying, at certain places; and leaping from one to another by sensible intervals."-Euclid's Introductio Harmonica, p. 2. I need not observe, that in the former case, the vibrations of the air are continually accelerated and retarded by turns, and by very small degrees; and in the latter by large ones.

says,

Now, Sir, we come to the subject upon which I began. Euclid An interval is To TEPLEXμένον ὑπὸ φθόγδων ανωμένων οξύτήλι Βαρύτηι, What is contained by two sounds differing in gravity and acuteness.

Aristoxenus defines a musical sound thus, pans alwris 'emì p ́ian táziv ó péculos, A sound is the falling of the voice upon one tension: and an interval thus, Aigua δε ἐςὶ τὸ ὑπὸ δύο φθόγων ὡρισμένον, μὴ τὴν ANTRY THOW 'Xálov: An interval is that which is terininated by two sounds, not having the same tension.

I will try to apply this process to some of the terms in music. A sharp, the character employed to raise any note a semi-tone, I would call an "accelerator," because it increases the vibrations; and a flat, which is used to depress any note, I would call a retarder,” because it renders the vibrations slower; and a natural, because it restores a note to its original state, “a restorer.”

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All such indefinite expressions as
adagio, largo, andante, allegro, &c.
I would entirely expel: and say,
many inches." Because so simple a
machine as
precise time in which a composer intends
a Bullet, would give the
his piece should be played or sung.
And a person who has attended to it for
a very short time, will recollect, with
eight or nine inches, or any other
great accuracy, the difference between
number.

very simple means to convey their ideas
If composers disdain the use of such
with precision they are not to be pitied
for having the time of their compositions,
effect, so frequently mistaken.
and consequently in some measure the

complicated, or expensive, but very port-
Had Mr.Handel made use of this not very
able instrument, there would not be such
his various movements. But my pen
continual disputation as to the time of
moves at a rate sufficiently fast to ex-
haust your patience: so I shall subscribe
myself,
Your's, &c.

Norwich,
January, 1810.

C. I. SMYTH.

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F your active and intelligent corre→

SENSE, page 479, for December last, has discovered that the "art of printing was I know not any one word in the Eng-vention," and derives the origin of blockonly a new application of an ancient inlish language, which we could substitute for interval, which would philosophically explain its nature. I should define an interval, "the difference between two sounds, as to the number of their vibra tions, or pulses, in a given time." The following definition is expressed rather barbarously; An interval is the pitchdifference of two sounds.

Chymistry, you well know, my dear Sir, has changed its nomenclature, in order that the name of a substance may express from what substances it is de

printing, that infant effort of the modern art, from the impression of those broad seals on the charters of the eleventh and of inking the impression on paper, twelfth centuries, by the simple change instead of wax."

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transition from stamping on paper inThe idea is ingenious; but though the simple, it will not sufficiently account for stead of wax, appears to us extremely simplicity, had it not arisen from some the origin of the invention; with all its fortunate accident, or been discovered

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by some ingenious contrivance, the art of printing might, even at the present moment, have been unknown to us. The present age of experimental philosophy, is no doubt approximating to many valuable inventions; and when some of them shall appear, we shall be astonished, from their extreme simplicity, that they had not been discovered before. In respect to the art of printing, the following circumstance confirms the statement of Common Sense; at the same time it shows, how it is possible to possess the knowledge of an art without practising it. "That the Romans did not practice the art of printing, (says a modern writer) cannot but excite our astonishment, since they really possessed the art, and may be said to have enjoyed it, unconscious of their rich possession. I have seen Roman stereotypes, or printing immoveable types, with which they stamped their pottery. How, in daily practising the art, though confined to this object, it did not occur to so ingenious a people to print their literary works, is not easily to be accounted for. That wise and grave people, perhaps dreaded those inconveniences which attend its indiscriminate use, and dangerous abuse."-Curiosities of Literature, fifth edition, vol. i. p. 118.

The Roman stereotypes above-mentioned, exist in very curious collections of antiquities. An eminent collector, with one of these, stamped in my presence, on paper, a complete inscription in Roman capitals; the letters were distinct and well cut. I have preserved the impression, but cannot readily find it. It may perhaps be worth giving a facsimile, as a specimen of what may be called Roman printing. Lincoln's-inn, Jan. 10th. 1810.

Your's, &c. CRITO.

To the Editor of the Monthly Magazine,

I

SIR,

WISII to enquire of some of your botanical readers, the reason why the great Swedish naturalist, who on the Continent is always called Linné, is, in this country, almost universally called Linnæus? For my own part, I think it would be absurd in us to persist in writing and calling a name different from the rest of the world, even if strictly the majority were in the wrong; but in the present instance, the contrary is so evidently true, that I cannot figure to my self one plausible reason for our vicious practice. Who is to be the judge of the

mode of spelling a man's name, if he him self is not? Yet look at any of Linné's works, and you will find, that even in the Latin tongue he constantly terms himself Carolus a Linné, never Linnæus. Indeed it would be strange if he should have done otherwise; when we know that the termination aus, in Sweden, is deemed a mark of plebeian origin; and that though Linné's father was called Linnæus, as well as himself up to the period of his being ennobled, immediately upon this event, he changed his name to Linné,which of course he ever afterwards used as his signature. It strikes me, that our pertinacious retention of the old vulgar name must be considered by the Swedes as a designed insult upon their illustrious countryman, just as we should deem it an insult upon our immortal hero, Lord Wellington, if some ill-mannered foreign nation should persist in calling him by his plebeian title, Sir A. Wellesley; or as Sir C. Flower would think himself insulted, if his correspon dents were to persist in directing their letters and notes to plain Charles Flower, esq. Our clownish behaviour in this point, in fact, says to the Swedes, "You are proud of having had your great naturalist's blood ennobled, but resolved we are that he shall be no noble to us; Carolus a Linné you may pompously call him; but, by plain Carolus Linnæus, the only name he ever merited, we are determined to designate him.”

I can see no answer to this reasoning, but that it would be inconvenient to alter a name, to which we have been so long accustomed; a plea which it is evident would go to deprive Sir Arthur of his barony; Sir Charles of his wellearned dignity; and many a lucky legatee of a large fortune. Surely if we can metamorphose a name, "familiar to us as household-stuff,” like Sir Arthur's into a title so unlike it as Wellington, we should experience no mighty difficulty in transforming Linnæus into Linné." In truth, if one botanic professor, or Pecress, who studies botany, would set the fashion, there is not a naturalist but would blush before the year's end, if the vile aus were to escape him.

I am aware of only one other objection, viz. that, in fact, Linné's name to be given correctly, should be called, Von Linné, or a Linné; and this I admit to be valid: but in trivial matters of this kind, the omnipotence of custom is admitted; and as by common consent, foreign naturalists have dropped the awk

ward

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YOUR

OUR correspondent E. in consequence of my having quoted two very amusing definitions of Bailey, under the words Gregorian and Thunder, has called upon me to specify the editions. To this I reply, that I shall not take such trouble, because I have been informed, that the author was the father of Miss Bailey, whose ghost so haunted Captain Smith, as we find in a well-known doleful ballad, and I may get haunted too, if I meddle too far in the family affairs, &c. E. adds, that the information of Gregorian being a fashionable wig in the eighteenth century, is curious information. If so, Catalani bonnets, and Nelson's chip-hats, with Hobies for boots, and Wogdons for pistols, are not properly confined to Dictionaries of English Costume, but ought to be extended to Dictionaries of the English language, together with Grose, the Slang, &c. &c.

I agree with E. that John Bailey, and Miss Bailey, have both amused the public, and I have not the smallest wish to prevent their continuing to do so. Your's, &c.

F.

For the Monthly Magazine. ACCOUNT of BENARES, written in 1785.

are few, Hindoos, indeed, of distinction, who have not their small pagoda at Benares, in charge of a Brahmin entertained by them, for the purpose of offering up prayers and sacrifice, and of distributing alms, on their account, at the consecrated city.

A pagoda, called Visswishor, or Vishishor, is the principal place of worship. Though small, it is a handsome temple, built who ly of stone, stained of a red colour, and sculptured, both inside and out, in an elegant manner. The idol within the temple is a black cylin drical stone, called Seeb, or Mah Deeoo, (the Phallus of the ancient Egyptians,) that is, the Great God. Both men and women resort in crowds every morning and evening, to the adoration of this image, to which they are summoned by the ringing of bells. To the homage of this curious divinity, they bear with them Ganges water, rice, beetle, plantains, sugar, flowers, and frankincense, as an offering. They carry also a small lamp filled with ghee (or grease) and a little bell. On their entering the temple, they light the lamp, and fire the frankincense, and place them both, with several other articles of the offering, before the idol. They then sprinkle the idol with water, and part of the rice, and crown the top of it with flowers. After the oblation they pray, and in the interval of every prayer, tinkle their little bell. When the hour of prayer is ended, the Brahmins carry away their offerings, which are considered as their subsistence. There is a stone figure of a bull within the pagoda, and usually a consecrated

BENARES, (otherwise Caushe, live bull kept within the court of the

stands on the northern side of the Ganges, and is reputed the most holy city of the Hindoo sect. Regarded with the same veneration as Mecca_by the Mussulmans, a pilgrimage to Benares absolves every sin, and secures to the Pagan a settlement in heaven. A number of rajahs, and opulent Hindoos, have contributed to its celebrity by monastic institutions for Fakeers and Brahmins; by establishments for pagodas; by fine flights of stone steps down to the Ganges, for the convenience of lustration; by gardens contiguous to the town; by long avenues of trees; and by extensive tanks. Some of these benefactions they were enabled to bestow at a moderate expense, on account of several stone quarries within the moun. tains, at no great distance either from the place, or from the river side. There

temple.

Fire is not only a sacred offering of the Hinduos, but is itself also worshipped by them, as is its prototype, the sun. As in other sacred places of Indostan, devotee Fakeers are here seen, with their limbs distorted by voluntary acts of penance.

Besides the Visswishor, there are a multitude of smaller pagodas in Benares, and a celebrated observatory, erected near a century ago, by a rajah of Joynagur. But the mosques are few only. The largest was erected on the highest part of the bank, by the emperor Akbur; but it is remarkable for nothing more than its lofty minarets.

All the principal houses are built of stone, in streets, (or rather alleys) so very narrow, that a palanquin has barely room to pass. Abundance of wealthy mer

1

chants

chants are resident in this capital, or resort to it. These lanes, or passages, for the security of their property, are closed every night, at both ends, with thick doors, plated with iron, and filled with nails; so that though the town be unfortified, it would, prove a work of some difficulty to penetrate into its interior parts. From the upper stories of many opposite houses, communications are made by small bridges.

Benares is the principal mart for diamonds, on the eastern side of India. It possesses also a manufactory of gold and silver tissue, atlass, silks, and gauzes, keemcaub, mushroo, and gulbuddun.

Like other places of fanatic or superstitious enthusiasm, it is notorious for unrestricted gallantry, and licentious intrigue.

From hence to Dehly, the women above the vulgar class, are generally personable, many eminently beautiful, and few deformed. Neither France nor Italy can boast of courtezans more expertly skilled in the cosmetic art, or in decoying allurements to captivate, to influence, to fascinate, and to fleece, their para

mours.

·H°

For the Monthly Magazine. ANECDOTES of PAINTING. FORACE Walpole, whose literary character stands deservedly high, has already given the world, "Anecdotes of Painting in England." This, however, should be no motive why the subject should not be taken up by another, particularly as Walpole may be said to have ended when the Fine Arts began to flourish in this country, namely, at the establishment of the Royal Academy.

The reigns of the two first Georges, may be considered the Gothic night of the Arts in England; for those monarchs, whatever may have been their virtues, had no taste: and it was not till the auspicious period commencing with the present reign, that Painting may be said to have reared her head in the British

nation.

In former periods, the artists of any celebrity who resided amongst us, were generally foreigners: such were Torigi ano, Anthony More, Hans Holbein, Rubens, Vandyke, Lely, Verrio, &c. &c. and except Dobson, Isaac Oliver, and Cooper, who gave some indications of genius, we had very little cause for exultation on the score of native talent. This dearth of excellence amongst us in

painting, may have suggested to the Abbe's Du Bos and Winkelmann their absard notion, that the influence of a northern or cold climate is unpropi tious to the efforts of genius; an absurdity, which, both in his paintings and his writings, has been ably refuted by the late Professor Barry.*

Previous to the formation of the Royal Academy, there existed a society of painters, who held their academy in St. Martin's lane, and who were denominated "The Incorporated Society of Artists." But as they had neither patent, exclusive privileges, nor the sanction of royal authority, they could be considered, in fact, no better than a mere club of painters. In this society, which was rather numerous, there were some good, and many inferior artists, a selection from whom, with the addition of Bartolozzi, Cipriani, and some other foreigners, formed the first body of Royal Academicians and Associates of the Royal Academy of Arts.

The institution of the Royal Academy, under the auspices of our present most gracious Sovereign, tnay be hailed as the dawn of that happy era, which brightens as it advances, and which, we may fairly predict, will shed a lasting lustre on our national character, and class the efforts of British artists with those rare productions which adorn the civilized world.

I cannot introduce, in more appropriate language, the commencement of this brilliant period than by adopting a couplet from Dr. Johnson's motto to the Works of our immortal Bard:

When Painting's triumph o'er her barbarous

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ledge, went hand in hand, and whose zeal and patriotisin peculiarly calculated him for the high and honourable office to which he was elected. The endow. ments of Sir Joshua were such as fall to the lot of few individuals; and except in the single instance of Rubens, painting could never before perhaps boast of so accomplished a professor. He was a profound scholar, a finished artist, and a polished gentleman.

With such a man at its head, it was natural to expect that the Royal Academy of London would at least have kept pace with the other seminaries of painting then existing; but it did more: It soon surpassed them.

Hogarth, who was hostile to this institution, predicted, that the establishment of a school of painting, to which there was such easy access, would be ruinous to the profession; as painters would then be as numerous as mechanics, and print-shops as plenty as porterhouses. It is needless to inform the reader of the total failure of Hogarth's prediction, and that the arts, instead of being ruined, have risen to a degree of importance, and the professors to a height of respectability, which, in their most sanguine moments, they could never have hoped to attain.

Although the advantages of the Royal Academy may be suficiently obvious; yet it may not be amiss to inform the general reader, in what its superiority to all former institutions in this country more particularly consists. First then, the academic body is composed of sixty artists, who are chosen from among the annual exhibitors, most distinguished for their superior merit. These members are divided into two classes; Acadencians, and Associates: the Academicians, of whom there are forty, form the higher class, and the Associates, of whom there are twenty, the inferior. The first advance to academic honors, is that of being elected an Associate; and the next, or higher, that of Royal Academician. The Associates, as before related, are selected from the mass of exhibitors; and when a vacancy occurs in the higher class, it is filled up by an election from the Associates. The government of the Royal Academy is wholly vested in the Academicians,

Leonardo da Vinci was certainly a very learned painter: but his theory surpassed his practice; his science was greater than his

execution.

from whom eight members are chosen, who form a council, and who may be considered the executive government. The members of this council are annually elected, or rather come in by rotation, from the Academic body. The Associates derive neither advantage nor eclat from their immediate situation; save only their standing in that gradation, which is the next step to the rank of Royal Academician, and being com"plimented with a diploma, and a ticket for the dinner, or annual gala, given at Somerset Place, previous to the opening of the exhibition. But they have neither vote at its elections, voice in its councils, nor any influence whatever in the internal regulations of the Royal Academy.

The president, professors, and different officers of the Royal Academy, are chosen from among the Royal Academicians, who all, except the president, have salaries annexed to their appointments. The professors are those of painting, perspective, architecture, and anatomy, who each deliver six annual lectures in their several departments, to the students of the Royal Academy.

Besides those professors, there are other officers attached to this establishment, such as the "keepers or master of the drawing-school, the secretary, auditors, secretary for foreign correspon dence, &c."

There are also a number of inferior officers, servants, porters, &c. on this grand national establishment; the whole expenses of which are defrayed out of those funds accumulated from the annual exhibitions. Those exhibitions of late years have been eminently productive; and instead of "gaining two thousand pounds a-year from shillings," they often now net four thousand pounds.

Having gone thus far into the constitution of the Royal Academy, it may not be amiss to point out the various advantages which the students in painting derive from being admitted into this Temple of the Muses.

The first and most obvious advantage arising to the student of the Royal Academy, is the access to so extensive and grand a collection of Casts from the Antique, (many of which are no wise inferior to the originals,) which in any other than a national institution must be unattainable. He has also the advantage of studying from the living models; of lectures on painting, perspective, ana

Peter Pindar.

tomy,

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