characters, but into the sacred language *. Now the case seems to have been that after the alphabet was invented the ease and conveniency of it were so striking, that even the priests thought fit to make use of it; and in order to keep concealed the mys teries contained in the hieroglyphics according to their novel and corrupted interpretations, they invented an ænigmatical language. I gather this from some few remains preserved in Plutarch, and Iamblichus, of the doctrines of Pythagoras, who confessedly borrowed his method of instruction, as well as many of his doctrines, from the Egyptian priests. The sentences ascribed to Pythagoras are "ignem gladio ne fodias, fabias ne comedas, cor ne edas," &c. These I suppose to be in a language resembling the sacred language of the Egyptians; for the meaning of these sentences remains as much a secret as if they had been delivered in hieroglyphics. This is sufficiently distinguished, both from the hieroglyphic and epistolary method, which are the two others mentioned by Clemens Alexandrius; for the epistolary I take to have been such as was used in the common correspondence between people at a distance, about the ordinary affairs of life, which most probably was the chief use made of writing by the vulgar in a country where the priests engrossed all kind of learning."

* The existence of a sacred language is proved by the Shanscrit.

OBELISKS.

"We are apt to adopt ideas that agree with our own customs and manners, when we go back to the beginnings of things, not considering that the first steps of an uncivilized people are few and slow. There is a simplicity among them that we overlook, or look down upon with contempt; and therefore want to refine every thing we meet with when we are examining the remains of nations which have made a considerable figure. Thus as we see vast pillars raised to do honour to some conqueror, or to record some extraordinary event, and for no other purpose, we are induced to think that every other use of such structures is beneath their dignity, Yet, with all due deference to heroes and their admirers, I cannot help thinking that directions given to a whole nation about the chief and most essential concerns of life, I mean how to distinguish the seasons proper for doing every kind of rural work, deserve as much to be honoured with extensive and lasting structures as the triumphs of Trajan, or the fire of London. Besides, we ought to consider that the old Egyptians had no other almanack to recur to. The name of an almanack-maker with us, raises the idea of a Partridge or a Poor Robin; whereas, even in

these days an almanack-maker is one of the chief Mandarines in China; and could we once feel the inconvenience of being destitute of all knowledge relating to the course of the Heavenly bodies, we should alter our opinion, and think no structure too magnificent to mark an almanack upon, as soon as invented; but we carry almanacks in our pockets, and imagine this was always the case.

Upon the whole, I have very little doubt but that the Obelisks were raised and used for the purposes above-mentioned, even though later Egyptians believed, or at least pretended to adopt another system. It is well known that they supposed the hieroglyphics to contain an account of their Kings. But, besides all other difficulties attending this explication, my worthy friend Mr. Stuart has made an observation which renders it totally incredible; namely, the fewness of the characters, which, though sufficient to convey knowledge to the husbandman in all the great and capital articles, were by no means enough for the variety of matter that History furnishes. The constant repetition of the same figures is alone a proof of what I have asserted.

We may therefore conclude with great probability, that the first Egyptian Inscriptions on the Obelisks were a kind of almanacks for the common purposes of life, like that which is at the end of the Rei Rustica Scriptores."

CHAPTER XIII.

Mr. Stillingfleet publishes a Treatise on the Power and Principles of Harmony, principally derived from the Work of Tartini-Observations on the Nature and Effects of Antient Music compared with the Modern.

WE have reason to regret that Mr. Stillingfleet

did not complete a work for which his talents and discrimination were so well fitted, as appears from his Observations on Grasses. But the versatility of his temper led him to other pursuits; while his general residence in London removed him from the Country, the proper field of observation.

From the habits and amusements of his town life, he was next led to the investigation of the principles of Music, to which he had long been partial. This change of pursuit produced his Treatise on the Principles and Power of Harmony, on which he seems to have bestowed unusual labour. He was probably

led to study Music as a Science, by the example and suggestion of his friend Mr. Price, who was a master of the art, and had drawn up an abridgement of Rameau's Demonstration du principe de l'Harmonie*, in order to clear up the obscurities of the original. From the same motive Mr. Stillingfleet undertook the more abstruse work of Tartini, who in his "Trattato di Musica, secondo la vera scienza dell 'Armonia," published at Padua in 1754, had attempted the difficult task of reducing Music to scientific principles t.

The merit of Tartini as the first performer of his time on the violin, was acknowledged by the best musicians; and he united an enthusiasm for the study of his favourite art, with a considerable knowledge in the higher branches of Mathematics, and their application to Music. A treatise on the principles of harmony from such a master could not fail to be highly interesting. But the real value of his knowledge was diminished by his pursuing fanciful analogies, and deducing the principles of harmony from abstract ideas. Hence he was frequently bewildered in a labyrinth of his own creation; and his writings

*See next part, p. 171.

Tartini published a subsequent treatise, elucidating many obscurities of the first, under the title "De' Principi dell 'Armonica Musicale contenuta nel diatonico Genere. Padova. 1767" This work Mr. Stillingfleet does not appear to have seen.