Imágenes de páginas
PDF
EPUB

calyx, whose five divisions are overthrown when The multiplication of the spirea ought also to the bud is unclosed; it dies away when the fertilebe immense; each of the ovaries swell after the Ovary carries and ripens the seeds. fecundation, and when the flower is fallen, their The corol has five concave petals, white like aggregation forms a sort of ball, slit like a sliced ivory, round, and holding to the calyx by a very || melon, which had not been separated. This slender claw. They separate as much as pos-aggregation ceases, and the seeds separate when sible, in order to give room to the little crowd of they are ripe, and the sap no longer nourishes stamina, who start up like electrical sparks.

In general the production of seeds is immense, and proportioned to the waste, or rather to the use which men and animals make of them; one single poppy produces thirty two thousand seeds; and was it to preserve the same fecundity for four successive years, and none of the seeds to prove abortive, it would produce many more than the whole surface of the globe could contain.

them; they fall, and are scattered around, and the ruins of this fine empire form others.

The spirea is placed in the Icosandria, and its order is pentagynia. I do not, however, believe that the number of its pistils is exactly ascertained.

[To be continued.]

ON MUSIC.

[Continued from Vol. I. Page 545]

OF THE ART OF PLAYING THE PIANO-FORTE.

We

THE piano-forte undoubtedly is one of the most important musical instruments hitherto known, and very deserving the general use that is made of it by the fashionable world. therefore flatter ourselves that the present article on the art of playing it, will be equally acceptable to our readers, as those we have given on singing, and on thorough-bass, in our former volume.

The invention of the piano-forte is ascribed to the late celebrated C. G. Schroeter, organist at Nordhausen, in Germany. For when he studied at Jena, and also taught music, he was not satisfied with the nature of the harpsichord, because its sounds could not be modified by the touch of the performer. He therefore tried to construct an instrument, which might be as powerful as the harpsichord, but calculated to shew the taste and feeling of the performer, like the clarichord, (a fine and very simple, but not powerful instrument, of which we shall give a description in a subsequent number.)—And fortunately he completed two sorts of mechanism, by which a hammer could be made to strike against the strings of a harpsichord, the one from below, as in piano-fortes in general, and the other from above, or perhaps as in upright pianofortes. But as he could not afford the expence of having a whole instrument of each sort constructed, he only made two models of his invented mechanisms, and in the year 1717 presented them to the Court of Dresden, being that of the Elector of Saxony, who was then also King of Poland. Since that time piano-fortes have been made not only in Germany, but also in other countries, and particularly in England,

where they are now brought to a very high degree of perfection.

The art of playing the piano-forte may be considered, first with regard to the teaching and learning of it; and secondly, with regard to the performance itself; as follows:

To teach the piano-forte, is not so easy as it seems to be too frequently considered. For the very great demands which are justly made on that instrument, require a particular method of explaining and facilitating the study of it, and therefore we shall endeavour to point out the principles of that method.

A great difficulty is immediately met with at the first beginning. For there a learner is least inclined to go through a serious of dry studies, and wishes for the enjoyment of playing tunes, more than when he has made some progress. And yet it seems to have hitherto been an universal maxim, that he cannot learn this regularly, and fundamentally, without knowing first the notes, and other rudiments. How much time there is usually spent with the learning of such preliminary things, and how almost every beginner has formerly been discouraged and disgusted by them, we trust most readers of this article will know from their own experience. But what has a beginner to do with all the notes, before he can make practical use of a few of them? and with different sorts of length, before he can bring them regularly into some sort of an equal length? Or why should he be troubled with the learning of any note, deff, rest, time, character, grace, and term, before he has an immediate opportunity of seeing the practical use of it?

The importance of these questions is evident; and the first and only author who seems to have attended to them is Mr. Kollmann, whose dis

tinguished inerit in the higher branches of the science of music we have shewn in our last number. The valuable, though small work, he has published for that purpose, is entitle: "The first beginning on the Piano-Forte, according to an improved method of teaching beginners." It contains, first, a brief and very concise explanation of the rudiments of playing, which it equires to be taught only occasionally, in that progressive order in which they are wanted; and then proceeds to practical pieces, with which the beginning is to be made in the following

manner :

which is to be prac ised occasionally; and short cadences, in one, two, three, and four sharps and flats. And then follow six sonatinas in one, two, and three sharps, and as many flats. The two last of which are made characteristic, and express. No 5, Evening Repose, and Morning Serenity ;" and No. 6, "The Falling Out, and the making up."

All these pieces shew the man who has presented us with the first treatises on harmony and composition, as well as a most judicious and experienced teacher of the piano-forte As compositions, they are masterly, and full of the In the first lesson nothing is required to be best taste and expression; and as progressive learnt and explained, but the three notes C, E, lessons, they exceed any thing of that kind hitherto G, the lowest in the treble stave; and how they known. And it must also be observed, that can be found on the instrument. This being so throughout they require no greater stretch of the very simple and easy, it enables any learner, hand than that of a sixth, which renders thei even a sensible infant of five or six years of age, more calculated for young children, than practices to begin immediately to play at sight a short pre- which require the frequent stretches of a seventh, lude and tune, composed of those notes only. || and octave. But a brief general explanation of the gradual order in which all the notes and keys follow, both ascending and descending, is also given.

In the second lesson the three notes D, F, A, between the former ones are introduced, which || enables the learner to play immediately a prelude || and tune of the six notes, C, D, E, F, G, A ; and the names of all the five treble lines and spaces are now set down to be got by heart. In a similar manner a few more notes are introduced at every new lesson, till all the treble notes are known; and then the bass notes are learnt in the same manner downwards.

Thus all the notes, with their simplest sorts of divisions, and the rudiments of the rests, of time, and of fingering, are learnt imperceptibly in twelve lessons Each of those lessons consists of a short prelude and tune, or of two movements; and they are written in the most progressive order imaginable. But what renders them particularly valuable, is, that they are calculated to prepare a person for a good player, because they employ the left hand in a similar manner as the right; and that they are through out pleasing and expressive, and contain nothing of that disgusting dryness, which is too often found in methodical works of this kind.

The said twelve lessons any attentive person of common capacity may learn to play well and regularly by notes in three months and any discerning person will allow that they are far from being trifling But to prevent the learner's being confused by tos many explanations at once, they are all written in the natural key of C major; and the practice of other keys is the object of the rest of the work. This begins with an introduc.!! tory page, containing the signatures of every major and minor key in the harmonical circle, No. XIII. Vol. II.

The other particulars which ought to be attended to, not only at the beginning, but through all the stages of improvement in playing, are the proper sitting before the instrument; and the regular holding of the hands, and using of the fingers, as also explained in the work mentioned.

When the first and greatest difficulties are overcome, and a learner knows the notes and other rudiments, it must be considered what sorts of works will be most proper for his further improvement. Whether he ought to play generally, and often, with accompaniments? how long he should practise every day? and whether it is good to be long about the same lesson or not? These important questions we shall give some consideration..

Concerning the first question, or what sort of works are most proper for the improvement of players, it is certain, that original works, composed for the piano forte by great masters, who are perfectly acquainted with that instrument, are in general better for learners, than works or pieces that have been composed as quartettos, symphonies, and concertos for other instruments, and are only arranged for the piano-forte. For pieces of this kind are in music, what transla tions are in a language; and though both may be useful for entertainment, the former are no better for learning good playing, than the latter are for acquiring the purity and true idiom of a language. And nearly the same it is with songs, ballets, and dances. For, as very seldom any of them have been set for the purpose of serving as lessons for the piano-forte, they are only calcu lated for the amusement of those who can play already, and not for improvement in playing.

The modern authors, whose works are most useful for the practice of the piano-forte, and F

most generally admired in this country, are, hat list a judicious teacher will know to add those Beethoven, Clementi, Cramer, Dussek, Haydn, || works of other authors, which, though not sə Kozeluch, Mozart, Pleyel, Heibelt, Herkel, and generally known as the above, may also be found Woelf; and among the antient ones, Sebastian, classical and improving. But all that cannot Bach, Handel, and Scarlatti, rank foremost.improve the taste, as well as the execution of a From the numerous works of those authors, it performer, should, be carefully withheld from will not be difficult to select pieces, adapted to him. the progressive capacity of the learner, as well as (To be concluded in our next.) to his particular taste and disposition. And to

ON THE ART OF DRAWING.

"THE cultivation of the arts gives a new spirit to commerce; opens new sources of wealth, and, concurring with morals, softens the manners of a people, and renders them more subservient to the laws that govern them." But among the number of arts and sciences, the above, in my opinion, is one of the most elegant accomplishments of the gentleman. Drawing is the art of justly representing the appearance of objects upon a plain surface, by means of lines, shades, and shadows, formed with certain colouring materials. It is a most useful acquirement in various professions and occupations of life and an early propensity to the art should ever be encouraged and cultivated, with a portion of extraordinary attention in both sexes; it will hereafter afford them some of the most innocent and delightful pleasures of which the human mind is capable. On its utility, which is universally admitted, it is unnecessary to enlarge. The satisfaction to be derived from it, the entertainment it will constantly afford, should be impressed on the youthful mind, whose first pursuit is pleasure; they may be truly and emphatically told, that this delightful art will furnish them with new sources; will enable them to see every thing more distinctly, in truer shapes, and more beautiful colours.

into the arms of Morpheus: the other admires each beauty of the sylvan scene, brightened by the meridian splendor, or explores the charming contrast of the grateful shade. On him, the descending orb of light beams with superior lustre; his admiring eye-his eye, in a fine " phrenzy rolling," gazes with rapture on the glorious sight. To them both the same objects are presented; but to the one, there is "no light but darkness visible:" to the other,

"Sweet is the breath of morn; her rising sweet, "With charm of earliest birds; pleasant the sun, "When first on this delightful land he spreads "His orient beams, on herb, tree, fruit, and flower,

"Glistering with dew; fragrant the fertile earth, "After soft showers; and sweet the coming on "Of grateful evening mild; then still night, "With this her solemn bird, and this fair moon, "And these, the gems of heav'n, her starry train.” Milt. Par. Lest.

The consideration of the immense difference

between the perceptions and pleasures of two persons, equally intelligent, will induce the ingenious to attain that knowledge which unfolds to the mind such beautiful views of all the objects of sight; that taste which ever distinguishes the enlightened from the ignorant.

Youths should be left to the free scope of their

How different the feelings of two travellers, set ing out on the same road; the one painfully toils up the high and misty mountain's side, blindingenuity; if they show an early inclination for to the beauties of all around; his only object is to attain the end of his journey, before it be well begun. The other, at the dawn of day, mounts, with alacrity, the rugged steep hill, rejoicing to behold the orient sun emerging from the bed of Thetis, unveiling, by degrees, the varied scene, in various tints of colouring. Descending, at noon, into the sequestered vale, the one, after a necessary refreshment, perhaps, resigns himself

The energetic and enlightened words of an able writer, on the re-election of Mr.West to the presidency of the R. A. in Bell's Weekly Mes

senger.

drawing, their first endeavour should be encouraged, not controuled; the constraint of regular precept, the irksomeness of performing a task, what should be made a delightful amusement, might for ever suppress the rising flame. An aversion for any art, in youth, is the natural consequence of exacting laborious attention, and making its attainment difficult. Youth should be suffered to amuse themselves with the pencil, as they please, till they become fond of using it. When they find, as they soon will, that their little performances are imperfect, and will not satisfy or please themselves, then give them in

struction.

The juvenile part of both sexes are ever in quisitive: nor should this propensity be checked but with great caution: it is the "inlet to knowledge" they are desirous to know; not only the purpose for which a thing is designed, but the manner in which it is constructed, how every operation of art or nature is performed. The gratifying of this natural curiosity, this "original appetite of the soul," is the source of extensive knowledge, and infinite delight; this principle begins at an early period to unfold, and may soon be directed, with facility, to useful and noble objects.

When curiosity has thus led to consider attentively, and to inquire into the objects of nature and of art, the principle of imitation, strongly rooted in the human brcast, induces them to copy what they see; unable, of themselves, to produce an adequate resemblance, they will eagerly apply for information, and to be shewn how that is done, which, of themselves, they cannot discover. Then will they easily be convinced that it is necessary they should attain the rules of the art, that these are essential to their improvement, that they will diminish their trouble, and facilitate their work, cannot be too strongly inculcated; their own unassisted efforts may be brought to enforce this truth.

It has been very justly remarked, that rules will not make an artist, any more than they will produce a poet :—“ Poeta nascitur non fit.” It is undoubtedly true, that some of the most admirable productions of the poet and the painter, have been produced by those who were unacquainted with any rule-even before any rule was discovered; nay, it is certain that "the rules laid down by the critic to guide the pen and the pencil, have been founded on those works which were executed before the invention of the critic art. Longinus and Bossu drew their principles from Homer and Virgil. Fresny and de Piles from Michael Angelo and Raphael."

These observations may render apparently futile the attempt to teach what can only be attained by genius: what genius will attain without books, precepts, or example. But, though it is certain that the most excellent instructions will not make any proficient where inclination and capacity are wanting, nor an artist without the mens divinior; yet let it be considered how many difficulties unaided genius hath to surmount; how many obstacles lie in the road to merit; how few persons, with every advantage, soar above mediocrity; and we shall be anxious to give every possible assistance. We shall develope to them with pleasure the plan pursued by those who have attained pre-eminence. We shall endeavour to point out the shortest path to the M. Litteraire des Scavans.

[ocr errors]

knowledge of each particular object; 10 define the limits of this art, which, like every other human effort, hath boundaries prescribed by imperious necessity, and to add examples worthy of imitation: holding up with this view, only the most excellent productions, and shewing with candour where excellence itself has sometimes failed.

It has hardly been disputed, that of all inventions the imitative ar's most eminently mark the excellency of human genius, since no other can produce such astonishing effects by means apparently so inadequate, that a plain surface, a sheet of paper for instance, should, by the mere addition of two colours, be capable of representing the various forms and distances of objects, would be as incomprehensible and equally incredible, to the man who had never seen a picture, as to one blind from his infancy. To be convinced of this, let us for a moment reflect upon a wellknown fact, the case of a person born blind, and suddenly restored to sight by couching: such person, at first, conceives that all he beholds touches his eye; the sense of feeling along can discover to him that all objects are not equidistant. This sense soon enables him to judge of distance in a considerable degree, and to learn to know the real by the apparent form and dimensions of the object. To this person, in a proper light and situation, present a picture for the first time. Suppose it a fruit-piece, he will attempt to grasp the apple, or take up the plate, and he touches a smooth surface. He immedi ately exclaims, "does my new sense again deceive me? and long will it be before he can comprehend by what power, less than magic, such deception could be produced Again, let a miniature be put into his hand, amazement follows; enchantment seems to him to be at work; there is the exact countenance of his friend: or let it be the precise figure of a building he has lately seen, of St. Paul's for example, equally will he be unable to conceive how his friend, or how so immense an edifice, could exist in so small a compass in his hand!

But painting can deceive not only the unskilled. In many ins'anges it can as completely impose on the most acute and well informed An eminent writer on perspective bears singular testimony to the strong deception painting can produce:"His two sons (whom he had instructed in this art) were with him in the garden of a place of public resort near the metropolis, at the far end of which there appeared the representation of some steps; the boys both ran up to them in expectation that they were real; and I own, says he, that I was also deceived."+ Yet I do not ima

+ M. Litteraire des Scavans.

gine that the painter of those steps is in danger of being immortalized, or his name so much as spoken of by posterity, unless he has performed works more extraordinary. In fact, such imposition on the sight, although a most surprising power, is not the principal aim of painting-is not that excellence which ranks it among the liberal arts, whose progress and advancement | mark the improvement of civilization, and the improvement of society.

vention of written characters. The Mexicans, when first visited by the Spaniards, sent intelligence of the invasion to Montezuma their king, with representations of their invaders. The Indians of North America still perpetuate any extraordinary transaction, or uncommon event, by a kind of hieroglyphics; and the inhabitants of Otaheite, and many of the newly discovered islands, give proofs how far ingenuity will proceed even among the most unenlightened; they But although their perfection proclaim the delineate, in an uncouth but expressive manner, highest state of that improvement and refine what they wish to represent, or what they inment, yet some traits are to be found among the || tend for embellishment. Indeed savages of almost uncivilized of mankind; and therefore the most every climate shew some talents for delineaorigin of design may be traced back to the re- tion; witness the various figures with which they motest antiquity, and among the most distant paint themselves, either for ornament, or to render themselves terrible, that is frightful to their enemies."

nations.

"To raise or convey ideas of objects by some rude or simple sketch, being by no means difficult, this was probably done long before the in

[To be continued.]

il.

FINE ARTS,

DESCRIPTIVE LETTER ON THE GALLERY OF DUSSELDORF,
[Continued from Vol. I. Page 604.]

I WILL mention those I admire most :- are standing at the fect of Christ. Mary Magde. 1st. Jesus in the midst of the Doctors.-Jesus lene is kissing his arm. Other figures are seen Christ is represented as a handsome, sensible look-behind Joseph. I could not cease to admire the ing child; he is standing before a table, on expression of grief in the heads of Mary Magdewhich are seen some papers and the holy scrip-lene and Joseph, and the care with which Mary tures. The Doctors surround him, his uncovered head is shaded with flaxen hair; and he is dressed in a grey coloured coat, over it is a purple mantle which falls to his knees. Every body gazes on him, and he draws the attention of all the principal light falls on his head.

The expression of the heads, the colouring, the well studied architecture, and particularly the choice and extention of the draperies, cannot fail to attract the admiration. This picture which was painted in 1705, is two feet eight inches long, by one foot ten inches wide; it has been engrav. ed by Green.

2d. Jesus placed in the Sepulchre-is another of his pictures which I admire much, as well for the correctness of the design as the expression of the heads. The body of Jesus Christ is lying on a rock; Joseph of Arimathea, magnificently dressed, is on the summit, the Virgin Mary is by his side; she is taking the crown of thorns from the head of our Saviour; the three Marys

takes off the crown; one would think that she still feared it should hurt him.

3. The Shepherds worshipping Christ.-The principal light falls on the Infant Jesus.

It

4th. Sarah presenting Agar to Abraham.— This picture was painted in the year 1699. is impossible to credit that so much luxury reigned in the apartments of the ancient patriarchs. But we pardon the historical painter this defect, when we look at the fine execution of his imaginary luxury.

5th. Abraham sending away Agar and Ismael. -This picture, painted in 1701, reconciles us to the defects of historical knowledge, which we observed in his preceding. Its author seems here to have studied and felt the simplicity of the partriarchal life.

All these pictures are nearly of the same size as the first.

6th. Jesus brought before the People by Pontius Pilate a picture of four feet three inches long, by three feet eight inches wide, painted on cloth

« AnteriorContinuar »