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chased three small volumes, from which he || acquired a complete knowledge of trigonometry. After this he could not rest till he studied astronomy; and having frequently met with the word philosophy, this soon became the object of his attention. He next proceeded to the study of the mathematics and metaphysics.

Mr. Hoffman, the chief commissary of Dresden, when he was auditing the accounts of some of the peasants in 1753, was informed that there was one John Ludwig, a very strange man, and very poor, who, though he had a family, was continually reading and. gazing at the stars. This raised the curiosity of Mr. Hoffman, and he ordered Ludwig to be brought before him. He was surprised to see in one of whom he had formed very superior ideas, the veriest boor in nature: his hair hung over his forehead down to his eyes, his aspect was sordid, his countenance stupid, and his whole demeanour that of a plodding ignorant clown. However, Mr. Hoffman, notwithstanding this unpromising appearance, thought his intellectual abilities would certainly appear when he spoke; but in this he was also disappointed. He asked him if what his neighbours said was true, that he was always studying? "If I have studied," said Ludwig, "I have studied for myself, and I don't desire that you or any one should know any thing of the matter." This, to the great disappointment of Hoffman, was uttered in the most coarse and clownish manner; however, he asked him several questions in astronomy, to which he expected very unsatisfactory replies: but in this, too, he had formed an erroneous opinion; for Hoffman was struck not only with admiration, but confusion, to hear such definitions and explications as would have done honour to a regular academician in a public examination. After this Mr. Hoffman prevailed on Ludwig to stay some time at his house, that he might farther gratify his curiosity; and he proposed to him the most abstracted and difficult questions, which were always answered with quickness and precision.

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Ludwig seemed changed. It happened, before his departure, that an eclipse of the sun took place; and Mr. Hoffman proposed to his guest that he should observe this phenomenon as an astronomer, and furnished him with proper instruments. The impatience of Ludwig till the time of the eclipse is not to be expressed: he had hitherto only been acquainted with the planetary world by books and the naked eye; he had never yet looked through a telescope, and the anticipation of the pleasure which the new observation would yield him scarce suffered him either to eat or sleep. Unfortunately, before the eclipse came on, the sky grew cloudy, and continued so during the whole time of its continuance. This misfortune was more than his philosophy could bear: as the cloud came on, he looked up at it in the agony of a man that expected his dissolution would follow; when it came over the sun his consternation is not to be described; and when he knew the eclipse was past, his disappointment and grief were little short of distraction.

Mr. Hoffman soon after paid a visit to Ludwig. He found an old crazy cottage, the inside of which had been long blacked with smoke; the walls were covered with propositions and diagrams, written with chalk. In one corner was a bed, in another a cradle; and under a little window at the side, three pieces of board, laid side by side under two tressels, made a writing-table for the philosopher, upon which were scattered some pieces of writing paper, containing extracts from books and geometrical figures; his books and a pair of sixinch globes constituted the library and museum of the truly celebrated John Ludwig.

In this hovel he lived till the year 1754; and while he was pursuing the study of philosophy at his leisure hours, he was indefatigable in his day labour as a poor peasant, carrying a basket at his back, or driving a wheel-barrow, crying vegetables about the village. In this state his " patient merit" was subject to a thousand insults from the unworthy; and those who found fault with the price of his commodities would call him silly clown and stupid dog. When Mr. Hoffman dismissed him gave him a thousand crowns, which

During his residence with Mr. Hoffman, that gentleman dressed him in his own gown, and every other clean and proper article of dress; and this alteration had such an effect, that even the accents of" he

rendered him the happiest man in the world; for with this sum he built himself a more commodious dwelling in the midst of his vineyard, and furnished it with those moveables and utensils of which he stood greatly in want. He procured a considerable addition to his library, which was essential to his happiness: and he often declared to his benefactor, Mr. Hoffman, that he would not accept the whole province to be deprived of study; declaring he had rather live on bread and water than withhold from his mind the food his intellectual hunger required.

ANECDOTE OF MR. HENDERSON, THE

CELEBRATED ACTOR.

HENDERSON was subject at times to extreme depression of spirits, which he endeavoured, but in vain, to dissipate he accounted for this to an intimate friend, from being the effects of a circumstance which occurred when he was a boy of eight years old.

His brother, at that time about ten, and himself, two years younger, were both dependant on their mother, who was afflicted with a nervous disorder, which had terminated into a settled melancholy. One morning, when at the height of this malady, she quitted her house and children, who were expecting, for a long time, her return, with the most anxious impatience. Night approached, and their mother returned not: in an agony of terror, the two boys went in search of her; and, ignorant of what course they ought to take, they wandered till midnight about those places in which they knew she was accustomed to walk, but without success. They then agreed to return home, but they could not find the way; and fatigued, alarmed, and distressed, they sat down on a bank and gave way to their tears, which flowed abundantly. At length they observed, at some distance, a luminous appearance: supposing it to be a light from some neighbouring habitation, they hastily made towards it; as they moved the light moved also, and glided from field to field for a considerable time, till it became fixed, and on their near approach to it, it vanished by the side of a large piece of water, on the margin of which they beheld their mother,

in a state of grief and anguish, from which she was roused by the tears and sobs of her boys. This light Henderson would never be persuaded to believe was an ignis fatuus, nor any imaginary luminary, but purposely sent by the peculiar interposition of Providence to preserve the widow and her fatherless children. The piety of Henderson, and his firm reliance on the care of that Providence, were well known to his friends; and though fervent gratitude to Omnipotence for this singular preservation was most conspicuous when he recollected the circumstance, yet he often declared, the horrors of that moment when he found himself and his brother lost at midnight, and ignorant also of their mother's fate, would never be effaced from his memory.

ANECDOTE OF L'ABBE ROUSSEAU.

THE Abbé Rousseau was an indigent young man, who was reduced to the necessity of going about from one end of Paris to another, to give lessons of history and geography. He fell in love with one of his pupils, Mademoiselle Gromaire, the daughter of the Envoy to the court of Rome, as Abelard did with Eloisa, or as St. Preux with Julie. Less fortunate than those successful lovers, but probably on the eve of being so-possessed of as much tenderness, and more heroic-he seemed to have sacribut of a more noble mind, more delicate ficed himself to the object of his love. Before he shot himself through the head, he wrote the following billet to his mistress, as he took his last dinner at a restaurateur's in the Palais Royale, without shewing the least mark of trouble or insanity:

"The inconceivable contrast between the nobleness of my sentiments and the meanness of my birth, a love as fervent as it is unconquerable for an adored object, the dread of being the cause of her dishonour, the necessity of choosing either guilt or death, has determined me to put an end to my life. I was formed for virtue, I was about to be a guilty wretch-I prefer to die."

GARRICK AND JUNIUS.

MR. GARRICK had been informed that no more letters of Junius were to appear in the Public Advertiser, and he mentioned

what he had heard to one of the noblemen | tained some very violent abuse; and conabout the court. Junius, who had his eyes cluded by hinting to him that he ought to every where, was told that Mr. Garrick be well contented in playing his part on had given this intelligence. He therefore the stage, but to keep from interfering in caused a letter to be sent to him at the politics. This letter produced the effect it theatre, just as this renowned player was was intended for: this most incomparable about to enter on the stage, in one of his actor for once played ill. most celebrated characters. The letter con

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MUSICAL BIOGRAPHY.

(Continued from Vol. IX. Page 256.)

ITALIAN COMPOSERS AND WRITERS FROM 1750 TO 1812.

FELICE GIARDINI,

"An eminent performer on the violin, was born at Piedmont. His musical education was received at Milan. He next went to Rome, and afterwards to Naples. At the latter city he obtained a place among the ripéenos in the Opera orchestra. Here his talents began to appear conspicuous, and he was accustomed to flourish and

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Hamilton. Here he continued five years, and then returned to this country; but his reception was not what it had formerly been. His health was greatly impaired, and, sinking fast under a confirmed dropsy, all his former excellence was lost. He attempted, but without success, a burletta opera at the little theatre in the Haymarket; and at length, in 1793, was induced to go to Petersburgh, and afterwards to Moscow, with the burletta performers. But he experienced only the most cruel disappointment in each of these cities.

"The general capricious character, and splenetic disposition of Giardini were his

and quarrelled with many of his most valuable friends. Careless of his own interest, and inattentive to all those means which would have promoted his success in the world, he at length sunk ander misfortunes of his own creating, and died at Moscow, weighed down by penury and distress."

change passages much more frequently than he ought to have done. However, says Giardini, I acquired great reputation among the ignorant for my imperti-bane through life. He spoke well of few, nence; yet one night, during the opera, Jomelli, who had composed it, came into the orchestra, and seating himself close by me, I determined to give the Maestro di Capella a touch of my taste and execution;|| and in the symphony of the next song, which was in a pathetic style, I gave a loose to my fingers and fancy; for which I was rewarded by the composer with a violent slap on the face, which was the best lesson I ever received from a great master in my life.'

NICOLA PICCINI,

"Was born in 1728, at Bari, in the kingdom of Naples, and may be ranked among the most fertile and original composers that the Neapolitan school ever produced. His father designed him for the church, but an invincible passion for music frustrated this intention.

"After a short continuance at Naples, Giardini came to England, and arrived in London in the year 1750. Here his performance ou the violin, was heard both in public and private with the most rapturous "In 1742 he was placed in the Conser. applause, and equally astonished and de-vatory of San Onofrio, under the direction lighted his auditors. In 1754 he was placed at the head of the Opera orchestra.

"He resided in England until the year 1784, when he went to Naples, under the protection and patronage of Sir William

of Leo. In 1758 he was invited to Rome, and two years after, his comic opera of La Bumma Figluola, had a success that no previous drama could boast of. His serious "opera, the Olympiad, was equally success

ful, and for fifteen years Piccini was considered the first musical composer in Rome. Anfossi was at last unfairly preferred to him; and, in consequence, he left Rome in disgust, and returned to Naples.

"From the latter city he was invited to France, and, in December 1776, arrived at Paris. He knew not a word of the French

language, but Marmontel undertook to be

his instructor.

"Before Piccini had completed his first work in France, he found himself opposed by a most formidable rival in Gluck, who, about this time, effected a great revolution in French music. He had introduced into it the forms of recitative and songs from the Italian school, whilst, from the German school, he had brought grandeur and strength of harmony. A musical war was excited, which, for a while, divided and exasperated all Paris. While this war was at its height, Berten, the director of the opera, made an attempt to put an end to it by reconciling the two chiefs. He gave a splendid supper, at which Piccini and Gluck, after embracing each other, sat down together, and conversed with the greatest cordiality during the whole evening. They parted good friends, but the war went on with as much fury betwixt their respective partizans as before.

"The opera of Roland was the first which was produced by Piccini in Paris;|| it was followed by Atys and by Iphigenia in Tauris.

"A singing school was about this time established at Paris, of which Piccini was appointed the principal master.

"At the breaking out of the' French revolution, having lost his pensions, he returned to Naples. The Neapolitan minister forbade him from appearing in public, in consequence of which he remained almost constantly shut up in his chamber, in solitude and indigence. During this time he amused himself by setting to music several of the Italian psalms of Saverio Mattei

"In the year 1799, he returned to Paris, where he solicited from Bonaparte the renewal of his pensions. He was graciously received, and munificently recompensed for composing a march for the Consular Guard, at the express command of the First Consul. Not long afterwards he ||

was appointed to an inspector's place in the National Confederacy of Music. This situation he continued to hold till the time of his death, on the 7th of May, 1801, at the age of seventy-two years."

F. H. BARTHELEMON.

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"Though an Italian by birth, he is said to have completed his first serious opera in this country, for the King's Theatre, in 1766. Mr. Garrick was induced to pay him a visit, for the purpose of asking him if he thought he could set English words to music. He answered that he thought he could. Mr. Garrick asked for pen, ink, and paper, and wrote the words of a song to be introduced in the play of the Country Girl. Whilst Garrick was writing the words, Barthelemon, looking over his shoulder, set the song. Garrick, giving him the words, said, There, my friend, there is my song!' Barthelemon replied, There, Sir, there is my music for it.' Astonished and delighted at this unexpected exertion of talent, he invited him to dine that day with him, in company with Dr. Johnson. The song proved so successful, that it was encored every time it was sung; and Garrick, in the fulness of his heart, promised to make Barthelemon's fortune. As a beginning of encouragement, he employed him to set to music the operatic farce of A Peep behind the Curtain." The little burletta of Orpheus, in the second act, was so much admired, that this farce was performed an hundred and eight nights in one year. Garrick thus cleared by it several thousand pounds, and rewarded Mr. Barthelemon with the sum of forty guineas, instead of fifty, which he had originally promised him! alledging, as an excuse, that the dancing cows had cost him so much money, that he really could not afford to pay him any more.

"Mr. Barthelemon has composed the music to several other petites pieces for the theatres, particularly to General Burgoyne's dramatic entertainment, The Maid of the Oaks, which was first acted at Drurylane about the year 1774.

"Mrs. Barthelemon and her daughter were both musical, and had also a taste for composition; the former published a set of hymns and anthems for the Asylum and Magdalen chapels."

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"Was a native of Italy; he came into England early in life, and resided so many years in London that he was almost as well acquainted with the English language and style of music as any individual of his time.

"In the year 1799, he entered into a speculation with Leoni the singer, by taking the theatre in Capel-street, Dublin, for the performance of operas, in which the whole of the musical department was to be under his management. This connection continued about four years, Giordani composing the music, and Leoni superintending the singing. They had considerable encouragement; but owing, as it is supposed, to several improvident engagements which they made, they at length became bankrupt, and the concern was, of course, transferred

to other hands.

"Mr. Giordani, from this time, continued to reside at Dublin as a teacher of music, where he had several pupils of distinction. He married there the daughter of a Mr. Wilkinson.

"He has not only written, but has published much music. His sonatas, and other pieces for the piano-forte, as well as his single songs, both Italian and English, have in general yielded a plentiful harvest to the music sellers.

"Giordani was the composer of an oratorio, entitled Isaac."

C. MUZIO CLEMENTI,

"Is a native of Italy, and well known to the musical world as a performer on, and composer for the piano-forte. On this instrument he has had few rivals, and scarcely any equal. His fleetness of finger is such, that he is able to execute running passages of octaves and sixths with as much facility as the generality of musicians can play single notes.

"Clementi came into England when very young, and, after some years, was appointed conductor of the operas at the King's Theatre. He was also engaged, for two seasons, in 1783 and 1784, to perform at the concerts in Hanover-square.

"The music of Clementi is almost wholly for that instrument on which he himself so much excels. It consists of more than forty

sets of sonatas, concertos, lessons, &c. for the piano-forte. His style, though not very pleasing to an unlearned ear, is peculiar to himself. It occasionally inclines to affectation, but never borders on vulgarity.”

Among the German musical composers from 1750, to 1812, the author mentions, in the following manner, the celebrated

CHEVALIER CHRISTOPHER GLUCK,

"A native of the Upper Palatinate, on the frontiers of Bohemia, and born in the year 1712. His father dying while he was young, he was left almost without provision, and his education was in consequence wholly neglected. So great was, however, his inherent love of music, that with the knowledge he had at that time acquired, he travelled from town to town, supporting himself by his talents, until he had worked his way to Vienna. In this city he was befriended by a nobleman, who took him into Italy, and had him properly instructed. At Milan he studied under J. B. San Martini, and in 1742, composed, at Venice, the opera of Demetrius.

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The celebrity he had acquired was such that he was recommended to Lord Middlesex, as a composer to the opera in this country; and he arrived in England just before the breaking out of the rebellion in 1745. After this period the performance of operas was entirely suspended for about twelve months.

"This induced him to return to Italy, and in the year 1769, Gluck produced at Vienna his opera of Alceste.

“About this period he was engaged to write for the theatre at Paris, and he set to music an 'opera taken from Racine's Iphigenia. He does not, however, appear to have gone himself to Paris until the year 1774, when at the age of sixty-two, he arrived in that city under the auspices of the late unhappy Maria Antoinette; and his opera of Iphigenie en Aulide was performed. In this he accommodated himself entirely to the natural taste and style of France. This opera excited a great degree. of enthusiasm in favour of Gluck. He afterwards, however, found formidable rivals in Sacchini and Piccini, both of whom arrived in France about this period.

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