pursue any farther. The Knights, on their return home, promise Queen Hilde to revenge the death of the King, and to deliver her daughter from the ravishers, as soon as the loss of men sustained in the last battle can be supplied by the growing up of the youth. 19. Meantime the enemy arrive with their booty in their own country. Nothing can induce Chautrum to break her faith to Herwig, and give her hand to Hartmuth, who himself disapproves of the harshness of his parents to Chautrun. 20. Gerlinde, Hartmuth's mother, condemns Chautrum to the mean service of washing the clothes of the knights on the sea shore. 21. After a lapse of thirteen years, the Hegelingians arm to execute the revenge which they had sworn. A large army, under the command of Horant, sails to Normandy. 22. Ortwein and Herwig, the brother and bridegroom of Chautrum, re again. At the conclusion, Ortwein and M. Primisser, keeper of the Imperial ORIGINAL CORRESPONDENCE. THE CHRONICLE OF EUSEBIUS. As the Literary Gazette was the first that of the Greeks, beginning with that of the Sicyonians, Argives, and Athenians, taken from Castor, and accompanied by catalogues of their Kings, and of their Archons. We next find the little book of the Olympiads, down to the 249th, taken from Cassius, Longinus and Flegontes. Then follows the history of the Corinthians, the Lacedemonians, and other people, who obtained the dominion of the sea, which the author has drawn from Diodorus. We then find the history of the Macedonian monarchy, before and after Alexander, borrowed from Porphyry. To the same historian belongs all that we are told of the Asiatic and Syriac dynasty: but the narrative of the events concerning Thessaly precedes; it is an historical piece, which Scaliger, to his great regret, considered to be absolutely lost. Lastly, we find the history of the first Romans, compiled from the rus, and Castor. Isolve to go on shore as spies. 23. Chau- Journal in this country which gave in- works of Dyonisius Halicarnassus, Diodo into the sea. formation respecting this important The persons who are charged with the Milanese edition of the celebrated Chronicle of Eusebius of Cesarea, partly inedited, had resolved to publish simultaneously the two books of which it is composed. For this reason alone, instead of distributing separately the first book, which has been printed several months, they preferred hastening the printing of the second; and though this part of the work presents much more serious difficulties, it would have been finished now if the health of the Editors had not several times obliged them to relax in their labours. the work is taken; at the bottom of the pages are placed the copious Greek fragments of Eusebius, which the Editors have collected in several ancient authors. They have also added philological, critical, and explanatory notes; however they have thought it proper not to exceed certain limits, and the first book, notwithstanding the abundance of its contents, is only 220 pages. LEARNED SOCIETIES. OXFORD, JANUARY 9. Meantime the remonstrances of the sub- Congregations will be holden for the purscribers have become numerous, and it has pose of granting Graces and conferring Debeen determined to send forth the first bookgrees, on the following days in the ensuing by itself, which is also the inedited and Term; viz.-Thursday, Jan. 14, Thursmost important part of the work. The day 28; Thursday, Feb. 11, Saturday 20; second part, which will soon follow the first, Thursday, March 11, Thursday 18; Saturwill contain, besides the second book of the day, April 3. work, the preliminary discourse of the Editors, an index, which is very necessary in a Chronology, a table of errata, and other matters relative to the work. trum learns by a vision that her deliverance Mr. J. S. and Mr. P. B. Duncan, Fellows of New College, have lately presented to the Anatomical Theatre, in this University, some very beautiful wax models, formed with so much accuracy as even to supersede the necessity of having recourse to the human body for anatomical instruction and experiment. They were purchased in Florence by these Gentlemen.-No. 1. Is a full-grown Human Female, in which are represented the following points; namely, the whole of the Absorbent System; the Viscera of the Thorax, of the Abdomen, and of the Pelvis, together with the Arteries and Veins belonging to them; the Brain and its Membranes; and numerous Muscles of the Head and of other parts of the Body.-No. 2. Two Models representing Sections of the Human Head, together with six smaller models-the whole completely illustrating the Anatomy of the Eye, with its Nerves and Blood-vessels.-Nos. 3 and 4. Two models representing with minute accuracy, not only the external form and character, but also the whole of the interior anatomy of the male and female Cray-fish. ARTS AND SCIENCES. SCIENTIFIC MISCELLANIES. METEORIC IRON IN NORTH AMERICA. The northern Esquimaux lately visited by Captain Ross, were observed (as we have had occasion previously to state) to employ a variety of implements of iron, and upon inquiry being made concerning its source by Captain Sabine, he ascertained that it was procured from the mountains about 30 miles from the coast. The natives described the existence of two large masses containing it. The one was represented as nearly pure iron, and they had been unable to do more than detach small fragments of it. The other, they said, was a stone, of which they could break fragments, which contained small globules of iron, and which they hammered out between two stones, and thus formed them into flat pieces, about the size of half a sixpence, and which, let into a bone handle, side by side, form the edges of their knives. It immediately occurred to Captain Sabine that this might be meteoric iron, but the subject was not further attended to till specimens of the knives reached Sir Joseph Banks, by whose desire Mr. Brande examined the iron, and found in it more than three per cent of Nickel. This, with the uncommon appearance of the metal, which was perfectly free from rust, and had the peculiar silvery whiteness of meteoric iron, puts the source of the specimens alluded to out of all doubt. The one mass is probably entirely iron, and too hard and intractable for their management; the other appears to be a meteoric stone, containing pieces of iron, which they succeed in removing, and extending upon a stone anvil. Some experiments upon the power of an alloy of iron with nickel to resist rust, and upon its fitness for delicate cutting instruments, are now in progress. TEMPERATURE BELOW THE EARTH'S SURFACE. There are some curious observations made by Mr. Lean, inserted in the Philosophical Magazine, upon the increase of temperature in descending into the earth, and they show this increase to go on to the depth of 200 fathoms, the lowest situation at which the temperature was taken; for instance, observed in December 1815, at the surface, and at successive depths, increasing by 20 fathoms, the temperatures were as follows: 50°, 57°, 61°, 63°,5, 64°, 66o, 70o, 72°, 70°, 74°, 78°.-The temperature taken in the air in summer and winter varied a few degrees, even to the lowest depths, but always increased on descending. It was probably also affected by the workmen, &c. but by immersing the thermometer into streams of water issuing from the sides of the shafts and galleries, it was shewn that an effect was produced independent of that cause. The water at moderate depths was cooler than the air, but at lower situations became as warm; at 100, it was 64o, air 66o; at 120, 68o, air 700-at 140, 72o, air 72°—at 200, 78°, air 78° also. CHANGE OF THE COLOUR OF THE SKIN. A very particular account of this phenomenon has been published by Dr. Emery Bissel, of Clinton, New York, in the Transactions of the Medico-Physical Society. It occurred in a man of the Brotherton tribe of Indians, who is now ninety years of age, and has gradually been becoming white for the last thirty years. The first appearance of this change was soon after an attack of acute rheumatism, in a small white patch near the pit of the stomach, and shortly after other spots appeared of the same colour, and gradually increased in size. He was at first alarmed, and endeavoured to remove them by remedies, but produced no effect, and soon desisted, and the change has continued going on irregularly ever since, the original colour remaining only on the forehead, and fore part of the face and neck, with a few small patches on the arm. The skin which has become white, is of a fine clear tint, and has nothing of a dull earthy appearance, nor of the livid hue observed in Albinos. It is more delicate to sensations of heat and cold than before, and likewise very tender, for the parts bleed much when cut or lacerated, and heal with difficulty; the perspiration is rather less than in the other parts. The man affirms he has never suffered under any cutaneous disease, except the itch, and that but twice, and also that he was a very dark Indian. MOIREE METALLIQUE. The Marquis Ridolfi has suggested a modification of this ornamental material, which consists in sketching flowers, figures, or other designs, upon the tin plates, with pale or coloured varnishes, before they are dipped in the acid bath. The figures are, of course, left with the original appearance of the tin, aud may be brought out in great perfection; or they may be made by laying on leaf gold or silver, the latter metals with the varnish defending the surface of the tin covered with them from the acid. THE FINE ARTS. SIR JOHN LEICESTER'S GAllery. We have before mentioned that Mr. Hil. ton was employed to paint a picture for Sir John Leicester, which would appear in that gentleman's Gallery of Native Artists, the opening of which might be expected during the ensuing (as last) season. We have since had an opportunity of seeing this work, and have seen what greatly delighted us. Our readers know that we love the fine arts for their own sake, that we most cordially approved of Sir John Leicester's plan, that our utmost wish is to cherish our native artists, and that we have frequently expressed a high opinion of Mr. Hilton's genius. Here then are four grounds on which it can naturally be supposed we were interested in this picture: we desired that it might be excellent, for the sake of the Arts generally, for the ornament of the room in which it is placed, for the credit of the British School, and for the honour of the unassuming and distinguished individual from whose pencil it came. It is a pleasure to us to add, that it has surpassed rather than disappointed our hopes and expectations. The subject is the Rape of Europa, who is represented on the back of the Bull; in the midst of waters, surrounded by seanymphs, satyrs, and other mythological beings; and looking with too late alarm at her removal from the paternal abodes of Agenor. The canvas is (we speak by guess from the view) six or seven feet in length, by five or six in breadth, and the whole is filled with the action, except a small portion of Landscape on the left of the spectator, executed in a grand manner. The composition and grouping seem to us to be admirable, and the colouring is truly that of Titian. Yet it is not touched into miniature perfection: the masses are bold, broad, and glowing. With all the charms of the Venetian School, there is not one of the puerilities or instances of bad taste which so often disfigure even the noblest efforts of the ancient masters. This quality, en passant, is a grand thing gained by modern art, and the general light of the age and of science has redeemed this exquisite branch of refinement from the risk of repeating such grossnesses and littlenesses as we so often see where we most lament their appearance. But what strikes us most forcibly as the chief merit of Mr. Hilton's performance, is the motion which he has almost absolutely communicated to his figures. They all look as if they would speedily vanish from our sight, through the side of the frame. Nothing can surpass this-it is the doing of genuine feeling and supreme talent. With regard to minor beauties, we might state that the flesh of Europa is in an exquisite tone, the animal elevated and characteristic, the management of the light and shadow clever without being mean or artificial, and the inferior actors a combination of as many various, graceful, and poetical forms, as have been often witnessed in a single picture. Upon the whole, though we bestow so warm a panegyric upon this production, we are assured that no amateur who sees it will think we have exceeded the bounds of justice. It is, in truth, one of the very ablest works of our day, and we have much pleasure in describing so transcendent a proof of talent by a young British Artist. MR. LUKE CLENNELL. This unfortunate Artist, a native of Morpeth, in Northumberland, and known to the world as an eminent Engraver on Wood, as well as a Painter of no ordinary talent, has furnished one of those cases of human distress and misery, which calls for the sympathy and the aid of every friend to forlorn genius. In the midst of a prosperous career, with fortune "both hands full' smiling on every side,--munificently treated by the British-Institution, employed on an important work by the Earl of Bridgewater (a picture of the Fete given by the City of London to the Allied Sovereigns,) and with no prospect but that delightful one of fame and independence, earned by his own exertions, the most dreadful affliction of life befel him, and insanity rioted where taste and judgment so conspicuously shone! The shorter we make the tale of woe, the more impressive it must be. The wretched Artist has been two years separated from his family, his young wife, the mother of his three infants, has descended into her grave, a broken-hearted victim, these worse than orphans are destitute-and it is proposed to publish by subscription, to provide for them, a plate from their unhappy father's picture of the Charge of the Life Guards at Waterloo, which, in 1816, was rewarded with a premium by the British Institution. Were the print a ballad-top we should not need to recommend it, as we do spontaneously; but even as a work of art, it would merit encouragement, unsupported by the melancholy circumstances of our statement, which appeal so irresistibly to every feeling bosom. ORIGINAL POETRY. [Literary Gazette.] AN ARABIAN SONG. ("Whose architecture was unknown amidst Suggested by ANTAR's exquisite Song quoted in And glimmering darkness in the middle air the Literary Gazette of last Saturday. I love thee, Ibla!-Thou art bright As the white snow on the hills afar; But the snow is poor, and withers soon, Fine is thy shape as the Erak's bough, Thy hair is black as the starless sky, And when I return, with a Chieftain's name, [AMICUS.] A RECOLLECTION OF THE VISIT OF VATHEK TO THE HALL OF EBLIS. They took their way (Vathek and his young bride, The sweet Nouronilar) through summer fields Of flowers-by sparkling rivers-fountains that Splashed o'er the turf-by palm and tamarisk trees And where the dark pines talked to solitudes; And oft beguiled the way with amorous songs, Brooded, but shifting aye her shadowy wings, The stars now shone anew; and right against stood Figures like men-all silent-with despair Upon a globe of fire sate Eblis: He And tho' he fell, you would have said he fell A portion of his fire)-and on their souls hate And blasting envy-and ('midst other ills) What 'twas to-hope.* This little poem coincides, in a great measure, The dwarfed Indian, grinning like a fiend : with the description of the "Hall of Eblis," "Welcome!" he cried, "both welcome! ye given in the singular tale called "The Caliph are come To see the Prince of morning: ye deserve At last they saw Vathek." Thy kiss is sweet, but cannot call That all the quickening beams of love To rear one shoot of hope again. Yes,-doubt me not,-I loved thee well, But never thought too well till now; A gloom that thou canst not dispel, A coldness thou canst not subdue, Comes o'er my bosom's genial flow, Fanning it with its hated wings;— Oh, purest feelings, frozen, grow Hard as the ice of clearest springs. BIOGRAPHY. FRENCH INSTITUTE. E. W. Within an interval of two months, music and the Academy have lost two of the most celebrated composers who have illustrated France and Italy, namely, Paesiello and Monsigny. What a singular contrast between these two great masters, whether we consider them with reference to their private or professional lives! Paesiello, concerning whom I last year addressed the Institute, fostered in the bosom of the great school of Italy, inundated Europe with his innumerable productions, occupied for the and appeared, even after death, to pursue space of fifty years all the voices of fame, that glory, of which during his life he had been insatiable. Monsigny, a stranger to schools, his own instructor rather than the pupil of the few masters destitute of talent and reputation under whom he studied, created a genius which he would fain have cultivated for himself alone; and became, as it were, in spite of his inclination, celebrated in the musical world, without ever quitting Paris, where he shone only for few years, like those meteors which blaze for a moment to disappear for ever. a Must we attribute this striking diversity to the mere accidental dispositions of the understanding and the temper? May we not account for the peculiar conduct and destiny of Monsigny's talent by the nature of his genius and his education, his situation in the world, and the state of public opinion at the time he * See account of the proceedings of the Institute, on the day on which this notice was read, Literary Gazette, 31st of October last. + See Literary Gazette, Jan. 24th and 31st, 1818. flourished?-for music was at that time | rarely happens that those who enter upon it but little studied in France, and was re- do not get rich, especially at a time when garded in a very trivial light by the gene- the State is getting poor; and such was rality of people A man of respectable cir- the case at the period alluded to. Thus cumstances would scarcely have dreamt of finance was regarded in a very important making music his profession. It was cus-light; and by its places and numerous ratomary even for those who professed the art, mifications was the means of restoring many to style themselves amateurs; and M. de decayed families. Monsigny, who had sprung from a good family, could not appear in the world as a musician under any other title. He was born in 1729, at Fauquemberg, in Artois. His family, which was of Sardinian origin, settled about the year 1500 in the Netherlands, where, for a length of time, they were owners of considerable estates. However, at the birth of Peter Alexander de Monsigny, the means of his parents, either through neglect of economy or some other cause, were considerably reduced. But this evil is not always serious to children, if enough remains to provide for their education, and to enable them to do something for themselves when fortune has done nothing for them. M. de Monsigny soon met with lucrative employment, of a nature no way dishonourable or incompatible with delicacy. Agreeble in his person, as well as by his talent, he was received in the most flattering way into the best society. He gained many friends, who took a warm interest in his welfare. One of his brothers entered the army, where he died a Knight of St. Louis; the rest procured appointments in the Colonies, and a suitable provision was made for his mother and sister. Whilst he was thus promoting the welfare of his relations, he did not neglect his own advancement, that is to say, his progress in music, his natural passion for which daily increased. He made choice of Young Monsigny was sent to the Jesuits' an excellent violin master; and Gianotti, College at St. Omer, where his natural a counter-violin player of the Opera, gave passion for music soon became manifest. him lessons in composition, which finished A college education does not, as is gene- the work begun by Nature. It is evident rally supposed, confine the mind of the that he brought to Paris, not only the taste student within a single and uniform circle but the genius for music, for he was enaof instruction. Certainly a common edu-bled to appreciate the low state to which cation cannot be perfectly in relation with the art was still reduced at the theatres, in the different dispositions suited to every spite of all the efforts made by Duni and state of society; but at all events, it serves Philidor to improve it. The Opera Coto keep the mind awake, to open it to the mique was then in its infancy, and the obvarious impressions which may present stacles which the customs of the age opposed themselves, and it is rare indeed that it to that style of composition must still be in does not seize that which is best suited to recollection; it was the constant object of its powers. the derision of Voltaire, which indeed it This was the case with young Monsigny richly merited in a dramatic point of when he quitted his studies. The carillon, view. Nothing can be more insipid, or Chimes of St. Bertin's Abbey, first both to the understanding and the taste, served to develop the genius which he had than those sketchy pieces, when the mureceived from nature; and the Carillonneur, sic does not finish off the traits, fill up a man of more talent than his profession the void, and complete the whole. Such, tion was the sole object of his musical pur-We are assured that when Monsigny heard required, was his first master. But recrea- however, was the state of the grand Opera, notwithstanding all the science of Rameau. suits; they were always subordinate to other occupations. At the age of eighteen he lost his father, and he was thus left to be the guardian of his younger brothers, and the support of a mother and sister, whose whole means of subsistence depended on him. It was a duty which his father on his death-bed bequeathed to him, and which he most religiously fulfilled. The loss of his father, joined to the low state of his fortune, induced him to renounce the career of arms which his ancestors had pursued, and in which he had been destined to succeed them. In the army, a young man is more likely to ruin than to enrich himself; and though glory may lead to fortune, yet that glory cannot be speedily acquired. More prompt resources were requisite to enable M. de Monsigny to provide for his family. In 1749, he proceeded to Paris, where he determined to betake himself to banking and financial speculations. In that profession success is more prompt and certain, and it Rameau's music for the first time, he was struck with astonishment; but his astonishment was of a different kind from that which La Bruyére had experienced in the preceding century, on hearing the Operas of Lully. The music, according to Monsigny, expressed nothing but tedium. I should like, said he to his friends, to try another style. In 1752, an Italian, company performed at Paris some of the compositions of Pergoleze, Jomelli, &c. This was, in fact, the first lesson in melody received by ears hi therto almost insensible to its charms. Monsigny did not need instruction, but the example proved serviceable to his plan of establishing a new style of dramatic music. His financial avocations occupied but little of his time, still less of his attention, and afforded him ample leisure for pursuing those studies which were most congenial to his taste. He secretly employed himself in composing a comic opera, with no other object than to endeavour to introduce more melody in the instrumental parts, and more | bours to agree together. In France, where | from the further extremity of the empire expression in the singing than had been attempted by other composers of the day. His task being completed, he shewed it to some of his friends, and wished to have the advice of Gianotti, his master. Gianotti, amazed at what his pupil had done, immediately proposed that they should exchange characters, and begged that he would give him the score of the Opera with permission to get it represented under his name, observing, that it would certainly make his fortune. Monsigny would readily have resigned it, for he had all the disinterested ness of a man who seeks to acquire neither money nor reputation by his talent. But unfortunately for Gianotti, all the airs of the Opera were known to the friends of Monsigny, so that had the latter given it up, he could not have renounced the title of composer, which in this case was all that was valuable. In 1758, this first production of Monsigny was performed at the theatre of La Foire, under the title of Les Aveux indiscrets. The success which the Opera obtained, proved a triumph to the drama and to music, rather than to the composer, who remained anonymous. But this success emboldened him to advance still further on the road which he had opened. In 1760, he produced Le Maitre en Droit, Le Cadi dupé, and successively On ne s'avise jamais de tout, Le Roi et le Fermier,-Rose et Colas. Every one rust feel the charm of those Operas in which the composer, always inspired by Nature, and drawing the beauties of his art from their very source, founds the expression of his songs on the simple and true accent of each passion, of each sentiment, studied in the language of the soul and of the voice ;-a truly original model for the artist, an inexhaustible model; but, like every other, it has its fair sides and principal points of view, which are seized by the first observer, and when once seized, the succeeding student has no alternative but to make inroads on truth for the sake of novelty, or to fall short of it by disregarding Nature, except in copies. These works commenced the revolution of taste: to them the Theatre de la Foire was indebted for becoming a regular theatre under the name of the Comedie Italienne, and the Opera Comique was established. Previously to this period, what was styled a comic Opera, was for the most part a wretched Comedy, prolonged by songs devoid of melody. It was a species of Vaudeville, in which music, far from being the principal spring of the dramatic entertainment, was scarcely an indifferent auxiliary. If the drama possessed either interest or wit, a song was unseasonably introduced to interrupt the one or destroy the other; and alternately, the majority of the audience in the pit thought the piece one half too long:some came for the sake of the music, and others for the sake of the Comedy. to find purchasers, which their home consumption does not afford them. Such are the immense stores of provisions collected at this Christmas mart, that, even by a moderate calculation, they are estimated at upwards of two thirds of what are consumed during the five succeeding winter months. genuine Comedy is formed on so perfect a No one ever travelled to Parnassus by a (To be concluded in our next.) SKETCHES OF SOCIETY. CHRISTMAS AT ST. PETERSBURGH AND Monsigny enjoyed the honour, if not of At Christmas, the Russians lay in their concluding, at least of preparing the union winter stock of provisions; a great market of these two interests, which, like two bor- is held on the ice of the Neva, where enordering powers, seem to be too near neigh-mous quantities of provisions are brought The Russians maintain a very extensive trade at Moscow; but all trade, instead of being, as in other European cities, scattered through various parts of the town, is here confined within one particular quarter, called the Khitai Gorod, where the Exchange is situated. This place is inhabited entirely by merchants, and is divided into sections, each of which is destined to a particular branch of trade. All retail trade is carried on in the Khitai-Gorod. The residences of the merchants are separate from their warehouses, and frequently at a great distance from them. In the morning they go to their warehouses, where they remain all day, and in the evening return to their families. This custom seems to have been borrowed from the Asiatics, for it is mentioned by traveliers as a characteristic mark of Eastern trade. Another singularity, peculiar to the trade of Moscow, is the market for houses, which is held in an immense open place, dependent on one of the suburbs of Moscow There the purchaser may obtain either a house, or part of a house, by describing what will suit him. The builders always keep an abundance of patterns and pieces of timber ready to be put together, so that a house is frequently built in the short space of a week, notwithstanding the time |