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tages ?

'Ancient Palaces and Gardens,

207 care that nature has taken for its pre- I gardens, instead of yews and lindens, servation, what are we to think of were planted with apple, pear, and man ?

cherry-trees, and vines, belides beds Phar. I am afraid to think at all. of rosemary and lavender, pease and

Frid. You must be cured of this ma- beans, and very large arbours or bowlady. It seems that profigates ar. ers. The inner courts were lined with Sumed the glorious title of free think-pigeon-houses, and full of poultry, ers, because honeft men had not cour. which the king's tenants were obliged age enough to assert their right to it. to send, and here they were fartened

Pbar. It may be so ; but I must for his table, and those of his houseleave you the honour of recovering the hold. The beams and joists in the prine loft itandards. I shall freely own to cipal apartments were decorated with you, however, that if we are to judge tin Aeurs de lys gilt. Allihe wir.dows of the importance of man, in this lys. had iron bars, with a wire lattice, to tem, from the care that nature has keep the pigeons from coming to do taken for his preservation, it will, in their ordure in the rooms. Tive glazing my opinion, be found very inconfider- was like that of our antient churches, able ; for where is there fo defenceless painted with coats of arms, emblems, a creature?- Where is there a being and saints. The seats were joint-Itools, over whom death has so many advan forms, and benches ; the king bad

armed chairs, with red leather and Fred. Some of those advantages na filk fringes. The beds were called ture has allowed, and we have contri. couches, when ten or twelve feet buted many more. You thould conti- square ; and those of only fix feet der, however, that though human be square couchettes : these large dimenings may be liable to more than their lions suited a custom which subfifted. proportion of natural infirmities, tho' for a long time in France, that guells their bodies are not of the same robust particularly valued were kept all night, textare, nor armed with the same means and in the same bed with the master of of defence that other creatures enjoy, the house. Charles V. used to dine a. yet those defects are made up by a su- bout eleven, supped at feren, and all perio: portion of reason. This taught the court were usualiy in bed by nine them to seek, in an associated state, in winter, and ten in fummer - The that fccurity which, as individuals, queen (says Christina Pilan) agreeably they could not be said to possess.- to an old and laudable custom, for Man is, certainly, thus in a more de- preventing any idle or loose thought fencible ftate, than he would have at table, had a learned man, who, du. been, if nature, instead of this privi- ring the meal, related the actions, or lege, had given him limbs sufficient made an elogium on some deceased to grapple with the lion.

person, especially on one eminent for

piety." It was in Charles's reign (To be concluded in our next.) that the mode arose of emblazoning

apparel : the women wore their hul.

band's shield on the right lide of their of ANTIENT PALACES, ibeir Gar- 1 gowns, and their own on the left. DENS and Embellishments.

This fashion lasted near a century.
HE Hotel de St. Paul, built by
Charles V.

For the Lady's MAGAZINE,
in his edi&t of 1364, intended to be
of great

OB Short

acknowledge the perufal of the large towers ; such additaments being letter addressed to him in the last thought to give an air of domination month's Magazine, and cannot but and majesty to the byilding. The I think himself happy in being defended

the royal houses of those times, it had Bakushort desires gratefully to

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by fo able a writer ; readily acquiesces But besides the pleasure that me i in his sensible observations on the im- derive from music, this satisfaction aportance of female piety and virtue as rises from the study of it, that its the grand foundation of female excel principles are founded in the very ience and true felicity, and shall ac frame and constitution of the universe, count himself honoured by a continue and are as clearly demonstrable as maance of his remarks.

thematical truth and certainty can render them ; and in this respect music

may be said to have an advantage over of the Powers and PROGRESS of pursuit whereof the attention of man

many sciences and faculties, in the MUSIC.

kind has, at different periods, been From Sir John Hawkins's preliminary deeply engaged. To say nothing of Discourse to tbe History of Mua school divinity, which, happily for the Vol. I.

world, has given place to rational the

ology, what can be said of law in ge(Continued from Page 139.) neral, other than it is mere human LEARCHUS relates, that at it is true, on the basis of a few incon

invention ? A fabric of science erected, Lesbos the people had a long, trovertible principles of morality, and which they sung while they were grind of that which ire call natural justice, ing corn, and Thales afirms, that he but fu accommodated to particular had heard a female fiave singing it, circumftances, to the genius, fituation, turning the mül; and alluded to the

temper, and capacities of those who practice of king Pittacus, wlio used to

are the objects of it, as that what is grind corn with a hand-mill, esteeming permitted and encouraged in one counit a healthy exercise. Other writers go farther, and affect try, poliganıy, for instance, thall be

punished in others. In some conftitu, to discern the principles of inusic, not tions, a difference of sex shall aggraonly in songs, but the occupations and

vate the crime, the guilt of the saine exercises of artificers, and even labour-offence; and custom and usage Thal}

One of these, in a vein of enthu- preserve the inheritance of the parent fiafm, perhaps more tingular thân per for the benefit of the eldest of his fuafive, says, “What ihall I speak of male defcendants, with the same prethat pettie and counterfeit music, tence to justice, as the law of nature which carters make with their whips, and reafon diftributes them to all. hemp-knockers with their beeteles, Finally, what shall we say to that lyf{pinners with their wheels, barbers with their fizzers, smithes with their lowed to be imperfe, craves the aid

tem of jurisprudence, which being alhammers? Where, nethinks, the maf- of equity to regulate its operation, and ter-smith with his treble hammer fings mitigate its rigour ? Or of those glosses deskant, whilst the greater buzz upon and comments, which, in the civil law, the plain-fong. Who doth not itrait

are of little less authority than the waies imagin upon musick, when he

laws themsèlves ? hears his maids either at the wool. hurdle or the milking-pail ? - Good knowledge of the human frame, and

As to medicine, setting aside the God! what distinct intention and re

the uses of its constituent parts, a no mission is there of their frokes ?- ble subject of speculation it must be What orderly dividing of their straines: confessed, the wiser part of men, rejectWhat artificial pitching of their stops*.” Jing the theory as vain and delulive,

resolve the whole of the science intó The Praise of Musicke, 8vo. rrinted an.

Thorias Ravenscroft, in the Apologie, fix BOJAS6, a: Oxford, for Joseph Barnes, but conjectured to have b.en wri ten by Dr. Johned to his true character of mulic, públiihed in Cale, page 76. Of this person there is a co 1014, cites it as a walk of Dr. Cafe, whom he 2025 account in Athcn. Oxon. Cob 299 Milos " A Mæcepas of Musicke."

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Of ibe Powers and Progress of Music.

209

observation and pradice, thereby con. ferring them to canvas, or at other felling that its principles are either ve times contenting himself with fimple ry few, or so void of certainty, as not, imitation, in all these exercises of imawith safety, to be relied upon. gination and art, expects from the jung

Of other liberal arts, such as gram ment of the well-informed connoiffeuír mar, logic, and rhetoric, it must be al- the approbation of his work. lowed that they.are of singular use ; Now in the several instances above but as being the mere inventions of adduced, not withitanding the coucesmen, and, at best, auxiliaries to other fions made to them, we may discern in arts and faculties, they are in their na the generality of men the want of that ture subordinate, and, in that respect; sense to which the appeal is made; for do but resemble the art of memory, with respect to the epic poem, few are which all men know to be founded on endowed with an imagination fufficiprinciples not existing in nature, but ently capacious to discover its beauassumed by ourselves, widely differing ties; and as to dramatic representation, from those which are the basis of mu the most favourite of all public enterfical, as well as mathematical science. tainments, although all men pretend

From this view of the comparative to be judges of nature, and the cant of excellence of mutic, and its pre-emi- theatres has persuaded most they are nence over many other sciences and fa.ro, few are acquainted with her operaculties, we become convinced of the tions in the various instances exhibited Atability of its principles, and are there on the stage, or know, with any kind fore at a loss for the reasons why, in of certainty, in what manner the actor these later times at lcast, novelty in is to speak, what tones or inflexions of music should be its best recommenda- the voice are appropriated to different tion, or that the love of variety should passions, or what are the proper gestiso possess the generality of hearers, as culations to express or accompany the almost to leave it a question, whether sentiment which he is to utter. How or no it has any principles at all. many individuals among those numer

To satisfy these doubts, it may be ous audiences, who, for a series of fufficient to observe, that the princi years pait have affected to admire our ples of harmony allow, as it is fit they great dramatic poet, may we fuppofe should, great féope for the exercise of capable of discerning his sense, delivertheir invention ; and though few pre ed in a style of dialogue very little retend to fill in the arts, without being sembling that of the present day, or of in some degree or other poffefsed of it, relishing those high philosophical senyet, az allthe imaginative arts, without timents, with which his compositions we pre-fuppofe a disposition in mankind and thofe of * Milton abound? The to receive their impressions, all claim a answer must be ---Very few.mEven right, and many the ability to judge

huof works of invention and fancy.

The epic poet, trusting that the The ma'que of Comis, written for the mind of his reader is co-extensive with

entertainment of a noble fa nily, and a comhis own, en leavours to excite in him

pany ot cholen ip.ctators, which within there

few y ars was int oluced on the pu lic stage, the ideas of fublimity and beauty; the may seni to con radiat chis observation, for dramatic writer hopes to move the af bis naion, that alsoough the sentiments confeations of his audience to terror and

taineat in it are well known to be drawn from pity by ihe reprefentation of actions,

the Platonic, the subliniat of all hilosophy, the reflection on which inspired his

and the nighty has an immediate and uni

form refuence to the filions of mythology, mind with those paffions ; and the 11 afforded kreat enteraiomoot to the upper painter, giving form to those ideas of Lailery, and the performance gave ri'e to fun. grace, greatnels, and character which dry meetings for the purpose of drinking and occupy his miod, or selecting the beau. Gng.ng, 1 me of which were signified with

The name of Conne's Court Ne e cholers, is ti:s of nature and character, and trans

may be posted !!! the mirth of the one VOL. X.

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humour, a talent which lies level with to the hearing is ultimately affected by the observation of the many, is not a the harmony of musical sounds, mast like intelligible to all; and some are disable many, and, as some compute, disgusted with those delineations of low not fewer than nine out of ten, from manners, however just and natural, that receiving that gratification in mufic, afford delight to others, as exhibiting which others experience. Such hearto view the human mind in the fimpli ero as these are insensible of its charms, city of nature, and free from those re which yet they labour to persuade straints which are imposed on it by themselves are very powerful ; but, ducation and refinement.

finding little effect from them, they The painter, in like manner submit-seek chat gratification from novelty, , ting his work to the publie cenfure, which novelty will not afford ; and shall find for one that will applaud the hence arifes that incessant demand for grandeur of the design, the fineness of variety, which has induced some to ithe composition, or the correctness of magine, that music is, in its very nathe drawing, a hundred that would ture, as mutable as fashion itself..... have dispensed with all those excellen. In the interim it must be confessed, cies for a greater glare of colouring, that there is somewhat humiliating in and attitudes suited to their own ideas a discrimination of mankind, that tends of grace and elegance.

to exclude the greater number of them cafe is the fame in sculpture and from the enjoyment of those elegant, architecture. To speak of the first refined pleasures, which the works of In Roubiliac's 'statne of Handel at genius and invention afford : but this Vauxhall, few are struck with the case condition of human nature is capable and gracefulness of the attitude, the of proof, and is juftified by that par. dignity of the figure, the artful dispo- tial difpenfation of those faculties and sition of the drapery, or the manly endowments, which we are taught to plumpness and rotundity of the limbs, consider as bleflings, and which no but all admire how naturally the Nip person, without impiety, can censure. per depends from the left foot.

Seeing this to be the case, it may be In works of architecture, we look asked, " How comes it to pass, that for elegance joined with itability; for a sense of what is true, juft, elegant, symmetry, harmony of parts, and a and beautiful in any of the above-menjudicious and beautiful arrangement of tioned arts, exists as it does at this day? pleasing forms ; but to these a vulgar or that there are any works of genius, eye is blind : whatever is great and which men, with one common consent, maffy, it rejects as heavy and clumsy. profefs to applaud and admire as the Such judges as these prefer for its itandards of perfection?”—To this.it lightness a Chinese to a Palladian may be answered, that althongh the bridge, and are pleased with a diagonal right of private judgment is, in fome view of St. Paul's cathedral, for the degree, exercised by all, it is controulsame reason as they are with a bird ed by few, and it is the uniform tefti. cage.

mony

of of discernment alone, Finally, with respect to mufic, it that stamps a character on the producmust necessarily be, that the operation tions of genius, and consigns them eiof its intrinsic powers can extend no ther to oblivion or immortality. ... farther than to those whom nature haa endowed with the faculty which is calculated to give delight; and that a privation of that sense, which, fuperadded The present great fource of musical

delight throughout Europe, is the o. chanter and his crew were more fenrinly felt by pera, or, as the French call it, the mer. the multitule than the charms of divine plia Infophy, which the author endeavours to dil

fical tragedy, concerning which it is to play, or the reliance on divine providence,

be-known, that if regard be due to the which it is the end of the poem to inculcate.

opinions of some writers, who yer are

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Powers and Progress of Music.

211 no friends to this entertainment, it is little to do, there the senses must, of a revival of the old Roman tragedy; neceffity, languish. After the first and it seems that the inventors of the pleasure that surprize gives us, the modern recitative, Jacopo Peri and eyes are taken up, and at length grow Giulio Caccini wished to have it weary of being continually fixed upon. thought fo; forasmuch as they profef- the same object. In the beginning of fed in this species of musical intona. the consorts we observe the juttness of tion to imitate the practiee of the an the concords, and amidit all the variecients, remarking, with great accuracy, ties that unite to make the sweetness the several modes of pronunciation, of the harmony, nothing escapes us and the notes and accents proper to

But it is not long before the instrha express grief, joy, and the other affec ments stun us, and the music is nothing tions of the human mind ..... It is else to our ears but a confused sound, conjectured that those general direc- that suffers nothing to be distinguisha tions for pronunciation, which were to ed. Now how is it possible to avoid be found in many discourses on the being tired with the recitativo, which subject of oratory, were the chief has neither the charms of singing, nor sources whence their intelligence was the agreeable energy of {peech? - The derived ...

soul, fatigued by a long attention, in .... It

may suffice to say of the mo which it finds nothing to affect it, dern opera, 'that by the tober and ju- seeks fome relief within itself; and the dicious part of mankind it has ever mind, which in vain expected to be enbeen considered as the mere offspring certained with the show, either gives of luxury; and those who have exa way to idle muling, or is diffatisfied mined it with a critical eye, scruple that it has nothing to employ it. In not to pronounce that it is, of all en a word, the fatigue is so universal, that tertainments, the most unnatural and every one wishes himself out of the absurd....

house, and the only comfort that is The principal objections against the left to the poor spectators, is the hopes opera are summed up by an author, that the show will soon be over. who though a professed lover of music, • The reason why, commonly, I has shewn his candour in describing the foon grow weary at operas is, that I genuine effect of representations of this never yet faw any which appeared not kind on an unprejudiced ear. The to me despicable, both as to the conperson spoken of is Mons. St. Evre- trivance of the subject, and the poemond, and the following are his senti- cry. Now it is in vain to charm the ments :

ears, or gratify the eyes, if the mind “ I am no great admirer of * Co be not satisfied ; for my foul being in medies in music, such as now-a-days better intelligence with my mind than are in request. I confess I am not with my senses, struggles against the displeased with their magnificence ; | impressions which it may receive, or, the machines have something that is at least, does not give an agreeable surprising ; the music, in some places, consent to them, without which even is charming; the whole together seems the most delightful objects can never wonderful. But it must be granted afford me any great pleasure. An exme also, that this wonderful is very travagance, set off with mufic, dances, tedious ; for where the mind has so machines, and fine scenes, is a pompous

folly, but still it is a folly. Though The word comedie, in French, compre

the embroidery is rich, yet the ground bends every kind of theatrical representation; it is wrought upon is such wretched a truer defignation of an opera is the term stuff, that it offends the fight." Tragedie en Mufique; those of Lully are in ge. neral so called in the title page, and it is plain,

(To be continued.) by the context, that the author means not the the comic, but the tragic opera,

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