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nuity of her tormentors; she looks around for the last time upon a world she was about to resign forever, her late royal habitation attracts her view; a variety of tender recollections present themselves to her memory. The full contrast of her situation rushes upon her mind, and the tear of silent sorrow trembles on her cheek. There had she received the homage of assembled nobles and excited the admiration of a brilliant court; all hung with rapture on her smiles and all were emulous of her approbation. There had she enjoyed domestic felicity in the bosom of an amiable family, and a transient happiness in the converse of her friends; but now she stands isolated in creation; no friend dare sympathize with her afflictions, their tears of sensibility must be shed in private or else be mingled with their blood; her relations have long since been hurried to the silent tomb, her husband murdered and herself torn from the embraces of her children. Her fortitude can no more, she sinks beneath the stroke of the executioner. Her soul flies to its almighty Judge.

Such was the magnanimity of Antoinette; such the unrelenting barbarity of her persecutors; that not content with disquieting her life, their malice extended beyond existence and attacked the purity of her character. But the time shall come when the malignant passions which then agitated the busy vortex, shall have subsided into a calm; when the persecutors, like their victims shall repose in the narrow precincts of the grave, when their ashes shall be scattered to the winds of heaven. Then will an impartial posterity rejudge their conduct; then will a new generation applaud the virtues of Antoinette. History shall record the great adventures of her life, and Pity attending to the recital shall weep over her misfortunes; while Morality confirming her precepts by example, shall point to her as an example of Fortitude.

FOR THE PORT FOLIO.

PERHAPS it is one of the most glorious privileges of genius, like the fabled power of Midas, by the slightest touch to turn every thing into gold. This legitimate and valuable species of alchemy is entirely at the command of a certain Hibernian magician, familiarly known to the empire, or the republic of let. ters, by the name of RICHARD LOVELL EDGEWORTH. This gentleman, who is a practical philosopher, as well as a very lucid and elegant writer, displays his talents to as much advantage in the composition of an ephemeral essay, as in the formation of a profound theory. We were particularly struck with this versatility of his powers, on recently twirling over some of the pages of Nichol. son's Philosophical Magazine. Here in the midst of terrific diagrams and scientific solemnity we find an article upon the construction of theatres, which ADDISON himself might acknowledge as his lawful offspring. To those, who are not perfectly acquainted with the plastic power of the heavenly gifted mind, it will appear almost incredible that a paper of so airy and agreeable a character as the following should be dictated from the arid topics of architecture. It is the privilege of genius always to arrest attention; it is the peculiar privilege of the genius of the EDGEWORTHS and all their illustrious tribe to write so perspicuously and usefully, as well as elegantly, that their labours are a real blessing to mankind. A cry, equally foolish and unfounded, was once raised against these writers by the zealots of a party. But Prejudice has long since relinquished her rancour, and the lovers of Truth as well as the worshippers of Talent enroll the honoured name of Edgeworth in those imperishable archives which record the literary triumphs of IRELAND, a section of the globe ter quaterque beatus, thrice and four times blest, by all the powers of learning and of wit.

ON THE CONSTRUCTION OF THEATRES,

EDITOR.

In a letter from Richard Lovell Edgeworth, Esqr. F. R. S. and M. R. I. A.

SIR,

TO MR. NICHOLSON.

Edgeworthstown, March 6, 1809.

THE public, by the loss of two theatres in one winter, must be anxious about the plans on which those edifices are to be rebuilt: they will not be satisfied with the opinion of a single architect, they will require an open discussion of the principles and plans upon which a new theatre is to be constructed; this they have a just right to demand, for their lives and properties are at stake. Every family in London might have mourned the loss of

some relative, had the playhouses been filled at the time of the accident; and the whole city might have been burnt to ashes by either of the conflagrations.

We are to consider not only the loss of lives by the immediate disaster, but also the apprehensions which the audience must feel for some time to come; and the anxiety, which those who remain at home must suffer during the absence of their friends at the theatre. Nothing should be left to embitter the cup of innocent pleasure, and "assurance should be made doubly sure," where great hazards are run, from no greater motive than the hope of an hour's amusement.

Covent Garden playhouse is now rebuilding without any previous appeal to the public, that I have heard of, as to the plan or precautions that are to be followed in its construction. I know that some hints were sent on these subjects, which were not ever considered, at least not noticed, till after the plan was arranged. Surely it must be infinitely more advantageous to the proprietors and to the nation that a short delay should take place before a plan is ultimately arranged, than that a new theatre should be opened ten days sooner, or ten days later.

The glaring defect, or, to speak more properly, the obvious blunder in the building of Drury Lane theatre was the introduction of timber as a frame work for bricks and stone; this is a fault common to buildings in London, where the public safety is without hesitation sacrificed to the interests of individuals. But to construct a wooden theatre is an absurdity too gross to pass without animadversion. A frame work of timber, filled with cores of brick or stone, and cased perhaps with brick or plaster, is opened for the reception of the public, who are to run the risk of sudden destruction from a spark of fire, or a snuff of a candle, from the fire works and lightning of comedy and tragedy, of pantomime and farce, without any probable means of escape, or any security, except what a few hogsheads of water in a cistern on the top of the house can afford. No future prologue at the opening of a new theatre could reassure the audience upon this subject.

From a view of these considerations, I hope it will appear incumbent upon those, who rebuild Drury Lane to take time for receiving information from every quarter whence it may be ex

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pected: instead of hurrying forward to a beginning before they have well considered the end. A remarkable observation made by that great engineer, Mr. Smeaton, in his account of the building of Eddystone light-house should never be forgotten by those who direct, or by those who undertake extensive public works. No resolution of the proprietors says he, ever conduced more to ultimate success than their leaving me at liberty as to time: had they been of the same temper and disposition as by far the greatest part of those who have employed me, both before and since, their language would have been, "Get on, get on, for God's sake, get on, the public is in expectation, get us something speedily to show, that we may gain credit with the public."

Architects and engineers are so nearly connected with each other in the objects of their pursuits, that it would be well both for them and for the public, if every architect were an engineer, and every engineer an architect. That this is not always the case, we have melancholy instances to prove.

There is a society of civil engineers in London, of which sir Joseph Banks is president, consisting of men of undisputed talents and information. Would it not be advisable to consult this board. No harm could possibly arise from such application, and much good might be the consequence. If, in the multitude of counsellors there may be some delay, there is probably much safety.

Having now animadverted upon the steps that should be taken, before any plan is ultimately settled, I shall venture to offer a few hints upon the construction of a theatre. If any thing, which I throw out should become an object of discussion I trust that I may have an opportunity of explaining what I propose, and if any thing be adopted from my suggestions, that it may not be followed, without my being acquainted with the mode of execution. Many new attempts fail of their object by the introduction of additional ideas that appear plausible; or by the omission of small circumstances that seem in the original plan to be of no material consequence.

IN BUILDING A THEATRE

1st. Security to the audience is the first and most necessary object. 24. Facility of ingress and egress.

3d. Facility of seeing and hearing.

4th. Convenience to the performers.

5th. Space for scenes, with proper openings for the machinery. 6th. And lastly, expense.

1st. To insure safety, common sense points out that as little timber, and as small a portion of combustible materials should be employed. The outside walls should be constructed of stone; the quoins of large blocks of stone closely jointed, depending upon their own bearings, and not made apparently compact by mortar. Bricks for the internal structure should be made under proper inspection and not worked hastily up to fulfil a contract. Ali the joints, rafters and principals, and the framework of the partitions should be iron. The frame work of the roof should be of the same metal with a covering of copper. No plumber should be permitted to exercise his dangerous trade in the construction of any part of the building.

It may at first sight appear that the substitution of iron for timber must be enormously expensive-and it would be enormous if scientific care were not taken, to calculate the stress and strength of every part of the structure where iron was to be used and to frame the materials together upon mechanical principles of strength and lightness.

As to the roof, it could no doubt be made lighter and cheap-, er of iron than of timber at the present price of that material. Cotton mills are frequently floored with hollow bricks which are light, and these may be covered with carpetting.

Many other parts of the theatre might be constructed of iron and copper; and stucco might be introduced in many places instead of wood. There are kinds of timber that do not flame; these, though not very durable, might be employed for floors and benches. And where deal is absolutely necessary, it may be covered or imbued with a wash, that in some degree will retard inflammation. After the wood work that requires painting has received two coats of oil paint, it may be finished with a coat in distemper, which may frequently be renewed at small expense, and without the disagreeable smell of oil paint.

To heat the green room, dressing rooms, and the withdrawing rooms, steam might be advantageously employed; and the

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