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fame time it is sufficiently correct to raise it above the censure of criticism: and in this respect the Translator has, in general, done justice to the original.
In support of the opinion we have given in favour of this work, we shall lay before our Readers the two following extracts :
LADY ORSAN, HARRIOT. • Har. Mama, Mama, I pray you give me leave to send a guinea to the poor blind woman.
* Li Orsan. Molt willingly : your sisters have asked the fame permission; Emilia gives three guineas, and Agatha two; but I tell you beforehand, that each of us in giving, has made a sacrifice. I have made a sacrifice of a picture, Emilia of a port-folio, and Agatha of a hat; I hope, Harriot, you have the same reason.
• Har. But, Mama, I have no facrifice to make, I do not want any thing,
• 2. Orfan. I think you proposed yesterday to buy a pretty desk we saw at the cabinet maker's.
• Har. That is true indeed.-But I fall have a guinea left; the desk is only fix and thirty fillings; Emilia will lend me fifteen fillings, and I can buy it.
2. Orfan. What, have recourse to borrowing for a trifle which you can easily do without ! Besides, you must never run in debt, buc when it is absolutely necessary. If you have not a good heart, I cannot give it you, but it is possible for me to teach you to reason justly, If in doing a good action, we retrench nothing from our common expence, we only commit a folly; if we borrow from one hand io give to another, we disorder our finances, and usurp the appellation of be. nevolent, for there is no virtue without reason. Ac confiftently, which is all that I have any right to expect from you ; buy the desk, or help the poor woman; but never expect to unite the pleasure of gratifying all your whims, with the happiness of being useful to the unfortunate; that is impoflible.
• Har. Since I must chuse, surely I shall not hesitate; I give up the desk with all
heart. I. Orsan. In that case you have merit in what you do, since it will exercise your self-denial. Without that, where would be the merit?
• Har. My dear Mama, I am sensible of that, and every time I regret the want of the desk, I will think of the blind woman, and I fall regret it no longer.
: 1. Orfan. And you may even say, "If I had not been comparfionate, I should have had a deals which now I do not care for; instead of which, the remembrance of a good action remains to me, an honest poor woman þlesses ine, and Mama loves me the better."-/She embraces ber).
• Har. O Mama, from this instant I think no longer of the desk, I affure you; and I see that what I at frit thought a sacrifice, is not pne, but the contrary:
• L. Orjan. It is so of all those which virtue requires ; they are only difficult before the execution; in proposing them, we only confider what they may coft; but in doing them, the pride alone which
they inspire is a sufficient recompence. I hope. my dear Harriot, you will know a ftill more pleasing value, that which a feeling mind can give. But go with Agatha, return to your governess.'
The following picture of the travelled coxcomb is drawn with fpirit:
The BARON, The Viscount. ! Visc. Yours is a charming garden--the fite is truly agreeablethat view from the side of the wood is wild, but exceedingly pi&uresque. At the approach of the evening, the setting fun throws immense masjes of light upon the mountain, which produces a very fine effect. That landscape calls to my mind those of Swifferland; it has all their beauties, but without the severity. Nature is more majestica and imprefjës the mind with more awful ideas in Swifferland and Italy; but it is a beauty, if I may hazard the expression, whose rugged aufterity approaches to harshness. Here indeed she is less sublime, but more fimple; much more affecting.
• 'Baron, afide. What an harangue ! - I believe, this is what is called an impromptu; but it is not in our language, for I neither undertland the words nor the phrases.
• Visc, aside. I have him-he is already confounded.
? Baron, afide. Let us fee to what lengths he will go. (aloud) Why truly, my Lord, you aftonish me.-You are exceedingly eloquent.All this fine language, which has been delayed to express that I have a fine garden
• Visc. It is because I am passionately fond of the country. A fine prospect affects me in a very extraordinary manner: how happy I was when travelling over the Appennines! Those lofty mountains, rugged with rocks, and surrounded with tremendous precipices; that noble wild aspeei, elevated my imagination, extended and exalted my ideas ; hurried on by an irresistible enthufiafm, I got out of iny care riage, I reflected, I made a drawing, I composed verses. What a country is Italy for a lively imagination, a thinking head! On confidering, that I was in the country of Cicero, Virgil, and Horace, I felt an impreffion which it is imposible for me to describe : having all their works by heart, I found a new pleasure in reading them on the very spot where they were composed -- And Rome, Rome! what tranfporting raptures did I feel on entering Rome!
• Baron. But tell me a little of the people, the manners and different governments; have you not ftudied these things with attention ? ** Vise. In Italy, my observation ran chiefly on external objects there nothing is wanted but eyes and memory; there reflection can only employ itself on the past, but it is in Swisserland and in England, that thinking beings and well organised heads are to be found ; fuch a stretch of ideas.-We have grace, an agreeable varnish, a great glow of colour ; we are skilled in the art of fhading; but they have the advantage of us in geometric and methodical reasoning, nor can we compare our logic with theirs.
• Baron. So, you rank the Swiss and the English in the fame class? They have no varnish, no glow of colouring, nor art of shading; but they have method, logic, and geometry?
Visc: Yes, in their manners and their way of thinking, there is a great fimilitude; the natural qualities of both are much the same.
• Baron, afide. The natural qualities !-( aloud) I am told you have written a very 'minute journal of your travels
• Vif. Yes, I have fix volumes of my scrawlings; it is an unformed work, as you may conceive a work must be, when written with such rapidity.--However, it don't want for fi:e, nor a spirit of originality. While I was in London, I was persecuted to print it; but I am fo far from having any vanity of that fort!- I have brought some valuable drawings from Italy, and so highly finished!
• Baron, I suppose, then, that you are a great connoisseur in painting?
• Visc. Yes, I have a tolerable good eye, and such a passionate love of the arts !--All the time I could spare while I was at Rome, was most deliciously dedicated to music and painting ; 1 composed a little treatise on music, in which I prove, that the Italians are the only people who have known the great eff. Ets of barmony; that their fiyle is in general more pure, their ideas newer, and in short, even in their most trifling airs, are to be found pretty intentions, grace, elegance, and motives well sustained.
• Baron. So then, our music is ill inten:ioned ; I am very forry for it, because I loved Rameau. - Bur let us return to painting; and fince you are a real lover of the art, I will shew you a miniature which is said to be done by the hand of a malter, you will give me your opinion freely, because, in confequence, I shalt either purchase it or send it back. There it is. (He gives him the box with Angelica's piture in the lid. He says afide) Let us hear what this pedant will fay to the figure of Angelica.
Visc. after a moment's attention. I cannot advise you to purchase it.' • Baron. Why so? -The face is preity. 19 Vis looking at the picture. Non characterbad attitude, no expressiona detettable piece, truly! ...Baron, nettled. It is well I hear this.
Vifc. fill looking at the pi&ture. Detestable !--no taste in the colouring; a sneaking look--a pitiful manner, exceffively hard wretched drapery -(Giving back the box.) It is worth nothingabsolutely good for nothing.
* Baron, in a passion. Well, Mr. Connoisseur, fome other person perhaps may not be so hard to please.'
In the pieces contained in the first volume, female characters, only are admitted. The fourth volume is written with a particular view to the improvement of young persons in the inferior claffes of life. The titles of the several pieces are; Hagar in the Defart: The Beauty and the Monster : The Phials: The Hape by Ifand: The Spoiled Child: The Effects of Curiosity: The Dangers of the World: The Blind Woman of Spa: The Dove : The Sacrifice of Friendship : The Generous Enemies : The Good Mother : The Busy Body: The Children's Ball: The Traveller : Voo thek: The False Friends : The Judge: The Queen of the Rose of Salency: The' Milliner : The Linen Draper : The Bookfeller : The Truly Wife Man: The Portrait.
If the Translator should think proper to publish another edition of this ufeful and entertaining work, in a less expensive S4
form, for the use of children; he will perhaps avoid the frequent repetition of the exclamation, My God! for, though it is certainly quite impoffible for a French company to support a conversation with any spirit without their Mon Dieu ! perhaps some few individuals in this country may still retain so much English vulgarity, as not to think their children the more accomplished, for being able, on every occasion, with a polite negligence-- to take the name of God in vain.
Arr. V. PHILOSOPHICAL TRANSACTIONS of the Royal Society of
London. Vol. LXX. For the Year 1780. Part 1. 4to. 78, 6 d. sewed. Davis, &c. 1781.
ELECTRICITY. Art. 2. An Account of some new Experiments in Electricity, with
the Description and Use of two new Electrical Instruments. By Mr. Tiberius Cavallo, F.R.S. HE first observations contained in this Paper are founded
on a curious experiment lately described by Profeffor Lichtenberg. On exciting an electrophorus negatively, and placing on it a piece of metal, such as a brass tube, or a three-legged compass, to which a spark of positive electricity is communicated; if the piece of metal be removed by means of a stick of sealing wax, or other electric, and some powdered rosin, kept in a linen bag, be Maken upon the electrophorus; it will be found to fall almoft wholly about those parts of the resinous plate, on which the piece of metal had been placed : forming some radiated appearances, resembling the common representations of ftars. On the contrary, if the resinous plate has been positively electrified, and the metallic body negatively; the powder will avoid those parts of the plate from which the metallic body had been removed, and fall principally on the other parts of the plate.
Mr. Cavallo satisfactorily explains these appearances, by thewing, that the powder, in consequence of the friction which its particles receive, actually acquires a negative electricity; and that consequently these particles are attracted by those parts of the plate that are positively electrified, and are repelled by those paris which possess the same electricity with their own. The electricity of the powder is so strong, that half an ounce of it suffered to fall, even from a spoon, on an insulated brass plate, furnilhed with an electrometer, is sufficient to make the threads diverge as much as they possibly can,
The Author gives the results of a few experiments founded on this new method of exciting substances in the state of powder the most fingular of which, in our opinion, is that feel filings, let fall either from a glass phial or paper, electrified the plate
negatively; but brass filings, treated in the same manner, eleca trified the plate positively.' It seems fingular too, that from one experiment it appears, that the amalgam of tin-foil and quickfilver, let fall upon the metal plate from a glass phial, electrifies the plate negatively; whereas, in another trial, we find, that quicksilver alone, poured from a phial, electrifies it positively.
In this Article the Author describes and delineates a very useful and commodious atmospherical electrometer invented by him ; the principal recommendations of which are its very small fize (about 3 inches and a half in length), its not being liable to be disturbed by the wind, and its great fenfibility.
CHE MIS T'R Y... Article 3. A new Method of afsaying. Copper Ores. By George
Fordyce, M. D. F. R.S. In this method, troublesome uftulations and fufions are avoided, and the metallic part of the ore is more easily procured, by means of the mineral acids, fixed alcali, and iron. The copper precipitated from its solutions, in its metallic form, by the fata ter, being dried and weighed, gives the proportion of metal contained in a given quantity of the ore. Simple, however, and easy as the Author's process will appear to the chemical Reader; we cannot help questioning his assertion that it may be performed by a person totally unacquainted with chemiftry, so that any proprietor of an estate, or his servant, may determine if an ore be of copper, and its value.'
From the Author's observations on its process we fhall extract a remark of a more general nature. He observes, that many
authors have been misled by not knowing this property. of metallic falts, viz. that if we dissolve them in a small proportion of water, or, if there be superfluous acid, the solution will remain perfect if exposed to the air ; but if the acid be perfectly saturated with the metal, and the proportion of water to the metallic falt be very great, on exposure to the air it is decomposed ; the metal precipitating in the form of a calx, and, the acid being loft. This, he adds, may easily be tried by taking common blue or green vitriol, diffolving an ounce in three ounces of water by boiling, letting them stand to cool, and filtering the solution. If this solution be exposed to the air, it will remain perfect ; but if we drop a drop or two of it into a wine glass full of water, in a few minutes the transparency of the water will begin to be disturbed, and the metal in a short time will fall down, in a red powder if it be iron, in a blue powder if it be copper.'
M. Bergman has lately thewn, that this conversion of metallic falts (those of the vitriolic kind in particular) into an ochre, or calx, not only takes place on exposure to the open air, but even in a close vessel, when the salt is diffused through