pore; valeat etmecum esse possit. Homo sanctissime, vale." At another place, on occasion of the death of a grandson of Fronto, he writes: "Cum autem in singulis articulorum tuorum doloribus torqueri soleam, mi magister quid opinaris me pati, cum animum doles; nihil conturbuto mihi aliud in mentem venit, quam rogare te ut conserves mihi dulcissimum magistrum in quo plura solatia vitæ hujus habeo." It would not appear as if Fronto had gained this favour by any unworthy subserviency; for many of his letters to Antoninus Pius are in behalf of a friend, Niger Censorius, who had lost the favour of that prince; and in one of them he says, with spirit and elegance, "Haud sciam an qui (for quis or aliquis) dicat debuisse me amicitiam cum eo desinere, postquam cognoveram gratiam ejus apud animum tuum imminutam: nunquam ita animatus fui, imperator, ut cœptas in rebus prosperis amicitias, si quid adversi increpuisset, desererem... Quem tu minus amabis, miserum potius quam hostem judicabo." There are also fourteen epistles of Lucius Verus, and twelve to Marcus Aurelius on the oratorical art. The fragments of orations now discovered are too slight to give us any idea of the eloquence of Fronto. All his other pieces likewise, including some written in Greek, are of little importance. These letters prove that Fronto was an African, and born at Cirta, as Bayle had conjectured, contrary to the common opinion, which made him a native of Aquitania. On the Works of the Bards of Armorican Britany during the middle Ages. By M. RAYNOUARD. (Ibid.) In this article M. Raynouard analyzes a work on the above subject by M. de la Rue of Caen. The object of that writer is to prove the existence of the Breton bards, which had appeared doubtful, from no remains of their works being in existence. He conceives them to have been the successors of the Gallic bards, and to have created the machinery of fairies, giants, enchanters, &c. which act so conspicuous a part in the romances of chivalry. These propositions M. Raynouard considers as still remaining to be proved. He quotes, however, from De la Rue, and adds himself, many VOL. I. passages, which seem clearly to prove that Breton, or Armorican lais, were not only well known, but held in high estimation at an early period of French and English literature. They are chiefly mentioned by the Norman and Anglo-Norman authors, in conse quence of the dependence in which Britany was placed upon Normandy, by the treaty with Charles the Simple. M. Raynouard, however, considers it as a problem still remaining to be solved, why, of all these Breton lais, and other poems, not one is now in existence, while, in England, there have been preserved so many specimens of the Gallic poets who wrote or sung at the same time with those of Armorica. Letters of Wieland to his Friends, from 1751 to 1810. By M. VANDERBOURG. (Ibid.) THESE letters are addressed chiefly to Bodmer, Zimmerman, Gleim, Jacobi, and Gessner of Zurich, (not the poet,) who had married Wieland's daughter. They do not throw so much light as might have been expected upon the literary history of the age, but relate chiefly to the private concerns and opinions of the author. They are, in this view, however, very interesting; and M. Vanderbourg takes occasion from them to draw a picture of the life, character, and opinions of a man who held for so long a time the most conspicuous place in German litera ture. Wieland was born at Biberach, a city of Swabia, rather of poor parents. He received, however, a good education, and soon displayed premature genius. At the age of fourteen, the perusal of Bayle, Fontenelle, Voltaire, and D'Argens, shook his religious faith, and he even began to doubt the existence of the Deity. The Theodicée of Leibnitz, on which he accidentally lighted, induced a revolution in his sentiments, which was completed by a mystical and platonic love which he conceived for a female cousin, Sophia, afterwards Madame la Roche, who, though married to another, remained his best friend through life. At this time he entered into a correspondence with Bodmer, author of Noah and other poems, the subject of which is drawn from the Sacred Scriptures. Bodmer enjoyed then a high X reputation in Germany, and was worshipped by Wieland with all the warmth of a young enthusiast. His sentiments at this time must appear striking to those who knew what they afterwards became. He preferred Virgil to Homer, Klopstock to Milton; he could find no words adequate to express his admiration of Young; he spoke with contempt and abhorrence of Boccacio, La Fontaine, Crebillon the younger, and of all free-thinkers; yet he himself was one day to write tales as licentious as those of the authors mentioned, and to carry the freedom of his religious opinions to the utmost height. About 1756, Wieland became acquainted, and soon after intimate, with Zimmerman, a man of the world, and tinctured with French philosophy. Under his auspices, a rapid change took place in his sentiments, of which the letters enable M. Vanderbourg to trace the progress. It begins to appear in March 1758, when he professes himself to be only a moderate platonist. Two months after, he abjures Young, thinks him enough to turn the head and to corrupt the taste of young persons. November, he criticises severely the Messiah, which he had ranked above all modern epics. February 1759, he admires Diderot, D'Alembert, and the other Encyclopædists. Lastly, in April, the consummation arrives; he considers Bodmer as having become a poet in spite of nature, and as possessing scarcely any merit but that of good intention. He concludes with declaring that he will no longer show himself the Bodmerian and fanatic, but will appear to the world in his true colours. Wieland had hitherto procured a precarious livelihood by teaching, and by the slender profits of his writings; but he now obtained a profitable appointment in the little republic of his birth. This brought him, for the first time, into practical contact with men; and, besides his avocations in the town, he paid frequent visits to the château of Count Stadion. Our author, cameleon-like, took always the colour of the last food on which he fed. He now assumed quite the character of a gay man of the world, though he never fully acquired its tone. The fruits of this new turn of mind were Agathon, Musarion, the Comic Tales, the New Amadis, and other pieces in the same free and showy style. In 1766, he married. After having adored three young ladies successively as goddesses, he united himself to a plain mortal, who had never read one of his works, but who proved herself an affectionate, prudent, and excellent wife. In her society he forgot all his mystic transports, and dreams of romantic bliss ; he became the father of a numerous family, to whom he performed faithfully all the parental duties. In 1769, Wieland was called to the office of first professor of philosophy in the University of Erfurt. In 1772, he was invited by the Duchess of Weimar to superintend the education of her son, Charles Augustus, the reigning Duke. A service of three years secured to him a pension for life. The German Mercury, which he set on foot, augmented his wealth, and he began to draw considerable profit from his works. He spent the rest of his days in easy circumstances, and was even able to purchase a small property, called Osmanstædt, near Weimar. The character of Wieland, as exhibited in his letters, is thus drawn by M. Vanderbourg. "The letters of Wieland paint him as much happier in the second, than in the first half of his life; we must except, however, the two or three years of his youthful illusions and early love; and he himself speaks afterwards of these as being only a delightful dream. As long as he lived in that solitude so dear to enthusiasts, we remark in him an extreme sensibility, which degenerates even into irritability. Friendship, with him, is a passion almost as exalted as love, and equally liable to storms. The friend to whom he writes is always an incomparable man; his soul always the most beautiful, his talent the most perfect, that ever existed. Zimmerman, Gleim, Jacobi, by turns, present the standard of ideal excellence in morals and poetry; but the more he expects from his friends, the more he is irritated, when he thinks they fail in their duty to him; yet he is soon appeased. Distrust of himself was a prominent feature at an early period of his life, though it did not exclude that vanity with which poets are generally reproached. There are moments,' said he one day, when I doubt whether I am a man of genius, or a contemptible writer.' That viva Mr Stewart's Outlines of Moral Philosophy. By M. COUSIN. (Ibid.) M. COUSIN begins with giving a rapid sketch of the progress of moral and intellectual philosophy among the moderns, from Descartes and Leibnitz to Reid. He then proceeds as follows: Among the successors of Reid, Mr Dugald Stewart is one of those who have done most honour to the Scottish school, and is indisputably the individual who has deserved best of psychology, in his Philosophical Essays, where he has so well combated Locke and his disciples, and in his admirable work on the Philosophy of the Human Mind, where, after having attempted the analysis of many important faculties, which Reid had too much neglected, he concludes with establishing the new logic which the labours of the Edinburgh school were gradually preparing. But it is chiefly in morals that Mr Stewart has happily filled up the blanks which had been left by Reid, Smith, and Ferguson. Guided by the examples of his predecessors, rich in that multitude of observations which had been brought forward on all sides by the method of the Scottish school, among men to whom the talent of observing cannot be denied, Mr Stewart has composed a work which, comprising them all, ingeniously and methodically distributed in a comprehensive system, may be considered as the most perfect work on morals which has yet appeared in England." M. Cousin then continues through several numbers an analysis of Mr Stewart's system of morals. M. licly exhibited the whole interior of his house and garden illuminated with carburetted hydrogen gas, conducted by tubes from the great reservoir to the lamps. He established a similar apparatus in the Theatre de Louvois, where M. Biot recollects having seen the flame, which was perfectly white, very calm, and of such brilliancy, that the eye could scarcely support it. Lebon, however, did not derive any profit from his invention, so that his example was not followed, and the thing was soon forgotten. It is only in England that it has been established advantageously, and on a great scale; and from England it is now proposed to introduce it into France. A commission has been named by the Prefect of the Seine, to inquire into the propriety of its adoption. Biot conceives, that it cannot be eligible for private use, on account of the great expence of the apparatus even on the smallest scale; but wherever a number of lights are required, the saving will be great; and when the arrangements are properly made, there can be no doubt of the beauty and intensity of the light, of its equability, and the absence of all smell. In an establishment of four hundred lamps, the expence of lighting by gas will be about a third of that by oil. The following is an estimate made by a friend of M. Biot, of the expence of such an establishment, where the original machinery had cost 25,000 francs. Interest on the capital, Coal used, Keeping up and working the machinery, Annual expence, 6000 lbs. tar (goudron) at 30 fr. per 100, Ammoniacal liquor, 5000 lbs. coak, at 26 fr. Produce, Expence of lighting 400 lamps, 1500 francs. 3000 1520 6020 1800 200 1300 330Q 2720 On Lithography, or Printing from Stone. By M. QUATREMERE DE QUINCY, (Ibid.) THIS art, which is only beginning to be known in Britain, was invent ed, and has been carried to great perfection, in Germany. Aloys Senneselder, a singer in the theatre of Munich, was the first who observed the property possessed by calcareous stones of retaining lines made by a thick ink, and of transmitting them in all their purity to paper, applied with a strong pressure to the surface of the stone. He observed besides, that the same effect may be repeated by moistening the stone, and applying to the same lines a new dose of printing black. In 1800, he obtained from the King of Bavaria an exclusive privilege for the use of his process during the space of thirteen years; and, in concert with the Baron d'Aretin, he formed at Munich a lithographic establishment, where music, and collections of models of different kinds, are still engraved. This invention has made few proselytes in Paris, and would perhaps be still unknown there, but for the efforts of M. Engelmann. It would be too tedious to describe the whole process, but the following are the principles on which it depends: 1. A line traced with a crayon, or a thick ink, upon stone, adheres so strongly, that mechanical means are necessary in order to efface it. 2. All the parts of the stone not 27,151,176 1,140,536 Restored Provinces. Provinces now first added. covered with this substance receive, Patrimony of the Second preserve, and absorb water. 3. If, over the stone thus prepared, there be passed an oily and coloured substance, it will attach itself to the lines drawn by the ink or crayons, and will be repelled by the moistened parts. In a word, the lithographic process depends on this, that a stone moistened with water repels ink, while the same stone, covered with an oily substance, repels water, and absorbs ink. Thus, when a sheet of paper pressed upon the stone, the greasy and coloured lines will be transferred to it, and will present a copy of the design drawn upon the stone. is STATISTICS OF AUSTRIA. Son. Tuscany Austrian Este. Modena, Massa, Carrara, and Garfagnana 368,364 28,660,076 (Erneuerte vaterlandische Blatter für 1. Austria under the Ens 2. Austria above the Ens 898 103 1001 1119 25 1144 This was transmitted, by the Arch duke John, to Dr Duncan, Junior, as the best periodical work published at Vienna. VERSES ORIGINAL POETRY. Suggested by a Tragical Event which lately occurred in a Highland Glen. TWAS noon-and not a cloud let fall That yon sweet lake embay; From where, within its bosom bright, Amid the deep light slumbering, It seems a self-suspended thing Why dips not the rower his slender oar, All in their best array; For young and old are banded there, His mother's heart is light and glad, For Angus has a traveller been, His heart was wedded to his glen, In dreams he walked these scenes among, The breast of the glassy lake. Now feels he, like a burning thirst The love of home; in every thought, In every prayer, that word is first; It seemed to parch his tongue with drought Home, home was raging in his brain, Returned, he scarcely knew the spot! 'Twas not the image in his mind: He comes a stranger, half forgot By the dear friends he left behind": He almost weeps to see the change That time has on his playmates wrought; Their looks, their very souls are strange, And truth a mocking vision seems To the fond exile, when he sought The substance of his foreign dreams. But to thy father's home repair, That reverend face is still the same, Which filial love had fashioned far away. "But Mary !"-Scarce the word is said, Sweet Mary! ne'er a truer heart Beat in a warmer breast than thine, And since the hour that bade you part, And sent thee back alone to pine, This earth so fair, these heavens so bright, Seemed a foul dungeon void of light. Slow creep the moments clogged with woe, When expectation dims the eye, And sickens at the heart; the snow Descending through a frozen sky, Falls not more chill upon the breast Than those dark days of joyless rest. Poor lone forsaken thing! I see Thy light form glide by fount or tree, |