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taken in its aggregate magnificence, certainly imparts the most elevating thoughts, displays the

san: theref re we naturally infer, that they are suns like that which animates our system, and created for the same wise and beneficial pur- || profoundest evidences, and affords the most sub

poses.

The stars appear of various sizes to us; but whether this arises from any real difference of size in them, or only from their being situated more or less remote from our earth, we cannot determine; for we have no means of ascertaining their distances from our globe, not being able to form an angle with any of them; yet we have the best reason to believe that they are placed at different distances from it. The planets being semetimes nearer to the sun than at others, their orbits must be elliptical; for the centripetal force, or attraction of the sun, acts with greater or less power on them, as they are nearer to that luminary, or further removed from it. Were these bodies constantly acted on by two equal forces; or did the centripetal, or that force which draws them towards the sun, exactly balance the centrifugal, or the force that impels them from that centre; these bodies would revolve in a circle: but Providence has so ordained, that these circulating worlds should be at different distances from the sun at different periods, by causing sometimes the centripetal force to be greater and sometimes less than the centrifugal; and hence it is the planets vary in their distances from the sun in different parts of their orbits.

How fitly formed-how duly balanced, is this wonderous system! Each planet has its appointed station and direction, and implicitly obeys the laws prescribed by God Omnipotent!

Endless the wonders of creating power On earth; but chief on high: through heav'n display'd

There shines the full magnificence

Of Majesty divine; refulgent there

limely glorious spectacle of creating Wisdom!

The varieties in the soil, climates, and the elementary parts which characterise our globe, are perfectly adapted to the necessities of animal, vegetable and mineral natures, in their different constitutions and species: of this, natural history furnishes the most striking instances, replete with evidences of the wisdom and benevolence of the great Creator!

Whether we examine the minutest works of creating Power, or soar into the regions of expanded ether, all things emit the purest rays of Divine Intelligence! Did then the wise beneficent Creator of all the wonders we contemplate mean we should behold them without understanding the lesson they impart? Certainly not. He meant that the excellency of his works, made evident to our senses and comprehension, should be understood, and duly appreciated. Then surely to pass them unheeded by, must bespeak either gross ignorance, or want of grace in his creatures; for

The elements and seasons all declare
For what th' e'ernal Maker has ordain'd
The powers of man: we feel within ourselves
His energy divine: he tells the heart
He meant, he made us to behold and love
What he beholds and loves-the general orb
Of life and being; to be great like him,
Beneficent and active.

Endless is the theme of universal love; for infinite is the scheme of Providence, unconfined by human laws, by human conception! The small portion of the works of Divine wisdom and beneficence, the perfection of which is immedi

Ten thousand suns blaze forth, with each his ately within our view, strikes us with wonder,

train

Of worlds dependent, all beneath the eye And equal rule of one eternal Lord.

'Tis true, the mind is lost in the magnificent survey of innumerable worlds, impelled by divine command, and revolving in the bosom of immensity. The grand survey of the universe,

||

love and awe!-A perfection so complete, so surpassing human reason, that to attempt to understand all its energies would destroy the limited powers of created man; therefore those things that we cannot appreciate, we must admire at a due distance; conceiving, from what we do see, the glories that for wise ends are now hidden from our sight!

ON HERALDRY.

ORIGIN OF ARMS, OR COAT-ARMOURS.

BLAZONRY, Heraldry, or the heraldic science, is the art of displaying, or explaining, in proper terms, all that belongs to coats of arms, and of marshalling, or making up new ones when required.

Arms, or coats of arms, are, first, ensigns, or marks of honour: secondly, hereditary; thirdly, made up of fixed and determined figures and colours; fourthly, taken up in the beginning according to the fancy of the first bearers, and afterwards, either granted or confirmed by sovereign princes, as a reward for military valour, a shining virtue, or a signal public service, and which serve to denote nobility and gentility; and, lastly, to distinguish families, states, cities, dignities and societies, civil, ecclesiastical, and military.

Thus Heraldry the science of which arms are the proper object, or subject matter; but yet they differ much both in their origin, and antiquity. Bara, Favin, and some others pretend that arms have been in use from the beginning of the world; Segoin traces them up to the times. of Noah's sons; and after, Diodorus Siculus says, that Osiris, surnamed Jupiter, son of Cham, who had been cursed by his father Noah, being banished from the tents of Shem and Japhet, raised an army under the command of his three sons, Hercules, Macedon, and Anubis; that Osiris bore as a mark of royalty and sovereignty, a sceptre insigned at the top with an eye; Hercules, a lion rampant, holding a battle-ax; Macedon, a wolf; and Anubis, a dog, which was the rise or origin of armorial ensigns; others place it no higher than the times of Moses and Aaron. Sir George M'Kenzie, a famous Scotch armorist, refers it to the patriarch Jacob, who, blessing his sons, gave them marks of distinction, which the twelve tribes of Israel bore on their ensigns; and Dr. Brown, in his Vulgar Errors, says, the scutcheons of the twelve tribes of Israel, as they are usually described in the maps of Canaan, &c. are generally conceived to be the coats, and distinctive badges of their several tribes; so Reubens is conceived to bear three bars wove; Judah, a lion rampant; Dan, a serpent trowed; Simeon, a sword impale, the point erected, the ground whereof he s ys is the last benediction of Jacob, and quotes Gen. chap. xxix. Numbers, chap. ii. to prove that many years after, in the benediction of Moses, that the twelve tribes had their distinctive banners, "every man of the children of Israel shall pitch by his own standard, with

the ensign of their fathers house." Judah is com. pared to a lion by Jacob; "Judah is a lion's whelp;" the same is applied to Dan by Moses; but Heralds have determined that the distinction between the coats of the two is, that the lion appropriated to Judah, was a lion couchant, or dormant, according to the letter of the text "recumbens dormisti ut leo," he couched as a lion; and concludes that although an uncertainty of arms, appropriated as above to particulars, seems manifest, yet he makes no question of their antiquity, and mentions the shield of Achilles, and of many other Greeks; and (according to Vossius) the crow upon Corvinus's head was but the figure of that animal upon his helmet, as examples of the antiquity of coats among the Greeks and Romans.

Others deduce their use from the heroic, or fabulous times; because in Homer and Virgil we find that their heroes had divers figures engraved on their shields; some place it under the empire of the Assyrians, Medes, and Persians, grounding their opinion on Philostrates, Xenophon, and Quintus Curtius; others, without any foundation, pretend that Alexander the Great regulated armorial ensigns, and blazonry. Father Monet places their rise under the reign of the Emperor Augustus; others during the inundations of the Goths and Vandals; and others again, ascribe the methodizing of coat-armours to the Emperor Charlemaign. Chorier, in his History of Dauphine, observes, that the Gauls had bucklers called tires, which covered their whole bodies, and on which every combatant caused his proper marks to be depicted whereby he might be easily known by his fellow soldiers; for which he quotes Pausanias: and this, according to Chorier, was the true origin of the bearings of noble families. The same author rightly says, that it would argue a great deal of ignorance to believe that the Romans were wholly strangers to ensigns or marks of honour; but that it would shew little less to maintain, that they had any proper mark to distinguish each family. That they were not ignorant of Heraldry appears from Nonius Marcellus who says "that the Heralds or Feciales declared war, or proclaimed peace, among the Romans, and it was not lawful to make war until four of them had demanded satisfaction for the injury received, and declared war upon the refusal, throwing into the enemies country a tagged spear, dyed in blood, and burnt at the end." He also says, that they consisted of a hundred and twenty in number, and that

that he has seen a Chinese scutcheon, charged with a panther, in a field Or.

After a great variety of sentiments, all that can be said, with any solidity or certainty, is, that in all ages men have made use of figures of living creatures, or other symbolical signs, to distin

K. Numa established a college of them under a commander named Pater Patratus; and Tit. Liv. lib. i. mentions the ceremony used at the creation of that commander; and of the Heralds he says, that they touched their head and hair with vervain, with which they were also crowned when they performed their office, that they might be known,guish themselves in war, to denote the bravery and distinguished, and that they carried a rod of office which was exactly resembling Mercury's eaduceus, with two serpents twisted.

Spelman pretends that the Saxons, Danes, and Normans, brought them first from the north into England, and from thence into France. Others assert, that armorial ensigns are natural and common to all nations in the universe, grounding their opinion on what Joseph Acosta, a Spanish writer, relates, that the antient Incas, or kings of Peru, bore a rainbow and two snakes in their arms; and those of Mexico, a hand holding many arrows of reeds. Another author says,

and courage either of their chief, or their nation,
and even to render themselves the more terrible
to their enemies; and Plutarch in his life of
Marius, observes that it was for that purpose,
the Cimbri and Teutones, the antient inhabitants
of the countries now called Jutland and Lower
Saxony, bore the figures of fierce beasts on their
shields, &c. and that those various figures were
used either as ornaments to their bucklers, and
helmets, or as ensigns and standards, to know
one another, and to rally after engagement.
[To be continued.]

ON THE ART OF DRAWING.
[Continued from Page 40.]

To examine the first dawnings of imitation, those uncultivated and untaught efforts of natural genius, is amusing and interesting; the specimens are often curious, and mark the characters of the people. Such disquisition may lead us to trace, with greater certainty, the different styles adopted amongst various nations, and in different ages, with respect to dress, buildings, and the arts in general, which have been materially influenced by, if not originally derived from, the peculiar genius, disposition, or character of the people in || their primitive state.

above recorded. Such were the first rude efforts. Egyptian hieroglyphics are, perhaps, the most antient specimens now extant; these are simple outlines; other arts had made considerable advances, while this remained in its infancy; the mind was either not at leisure to attempt embellishment, or else it required a higher degree of cultivation to produce that improvement of which the art was susceptible, than to mature many of the sciences. But when the enlightened genius of Greece rose to its meridian splendour, arts, as well as arms, attained the pinnacle of As man had occasion for images of different perfection. If we might judge of their painting, objects, he doubtless made use of the most ob- which has perished, by their sculpture, which is vious helps to acquire their shapes; when the|| happily preserved to us, or by the eulogia of thing itself could not be applied, and thus traced history, their excellence if ever equalled, has upon the wall or floor intended to be adorned, never been surpassed. That the moderns how. other means were tried: shadow, which distinctly || ever have carried painting still farther may be gives the form of bodies, it is natural to suppose, presumed, when we recollect the small catalogue might suggest the most ready method of obtain- of colours they possessed, and the ignorance ing a likeness. And we have, at this day, artists, they betray in perspective. as they are called, who can go little farther than mechanically to reduce into a smaller compass, the outline thus taken. Pliny and Quinctilian derive hence the origin of design.

The attention of Grecian artists was principally, if not wholly, attached to those subjects which engaged the passions and affections of mankind; to enrich their temples, to represent The former affirms, "that a young woman, their demi-gods, their heroes, and those heroic struck with her lover's resemblance, thrown dis- actions, the sublime themes of their poets and tinctly on the wall by a lamp, drew the outline." || historians, were, with them, the chief objects for The latter relates that a Shepherd thus obtained the exercise of their exalted powers. The the likeness of a sheep; the method was obvaluable remains, handed down to us, of that vious, and such instances, no doubt, repeatedly celebrated age and country, exhibit the most exoccurred, possibly long before the two which are quisite skill, directed by the profoundest judg No. XIV. Vol. II. N

ing; to hand down to posterity the valuable portrait of some distinguished patriot; to present to distant nations, the countenance of tha: hero, who had saved his country in the day of danger; to preserve, in an antient family, the resemblance of an illustrious ancestor; to pourtray the historian, the poet, or the actor, who had instructed or delighted the public; or the parent, relative, or the friend who was dear to the individual; these were desirable and laudable ob

ment in representing the human figure, and all efforts were made to please the nation with sub. subjects that could be fixed under the artists'jects less elevated, but more immediately interesteye. Either these important studies entirely engaged their pursuit, or the difficulty of accurately delineating those innumerable objects which compose the general views of nature, of catching all their variations, in form and colour, in light and shade, might deter them from so arduous an attempt; and thus these views became the latest subjects of painting after the revival of the art. The human figure as they could fix, they could study, and glorious was the result of their study grand the designs of their artists,jects of painting; and hence portrait painting inspired by the conceptions of their poets! accurate their attention to nature! to nature in her most vigorous, most beautiful state; by judiciously combining every perfection they discerned, the pieces they produced were perfect! but to paint the sun rising in gilded radiance, or setting with refulgent majesty, was reserved for the pencil of

a Claude,

arose. This requires not all the excellencies of history, but it requires excellencies of a different kind, and not less difficult to attain. The desire of the patron, and the inclination of the artist, led the latter to attempt every subject that could gratify opulent vanity, or exercise industrious ingenuity. The favourite houses, horses, and hounds, were desirable objects to the one; to the To the antients then we must have recourse other, the stately grove, dismantled tower, and for those models which are the standard of per- rustic homestead afforded subjects interesting, fection, and which will most eminently assist in delightful, and happily adapted for the pencil; studying the human figure, or forming the the patron paid for all. By degrees a taste for historic group, and in pursuing that idea of ex-landscape prevailed; which, though less dignified, cellence which they ever had before their eyes. is not less difficult than either portrait or history: Various causes have contributed to introduce perhaps as many excellencies are necessary to be at different periods, other species of representa-combined to reach perfection, in the one as in the tion. When assiduous practice, the spirit of other; and perhaps it will he found, that conresearch, and studied or fortunate discoveries, sidering the number who have followed this line, had rendered the mechanical part of the pro-in which mediocrity is easier to be attained, a fession more attainable, and when the taste and smaller proportion of the artists have eminently genius of the times afforded less encouragement distinguished themselves. or fewer occasions for the pencil of history, [To be continued.]

ON MUSIC.
[Concluded from Page 28]

ON THE ART OF PLAYING THE PIANO-FORTE. CONCERNING the question, whether a learner ought in general, and often, to play with accompaniments? it must be observed, that though judiciously composed, and well performed pieces, with accompaniments, have a fine effect, they can be used only for the enjoyment of playing, and not for the learning of it.

To shew this, it need only be considered, that the most simple and most easy pieces for the piano forte consist at least of two parts, one for the right, and another for the left hand; and that more complicated ones contain harmonies, which on other instruments would require two or more performers. To read such pieces, in two Staves of the notes, and to execute them as neatly and exactly as if every part was done by a se

parate performer, is difficult; and this difficulty is increased, and multiplied, by the necessity of attending to the accompaniments when used, and of going on with them in str.ct time.

When therefore a learner plays with accompaniments, he feels a certain constraint and anxiety, which makes him pass but superficially over all that he finds difficult, or omit those notes chords, and parts of passages, which he is afraid And such a manner of helping to encounter. himself in difficulties, together with the improper application of the fingers attending it, becomes habitual, and materially injures a learner in fine playing, under the false idea of improving his acquirements in time.

All the greatest masters of the piano-forte therefore agree, that a person can learn true play

ing only by playing without accompaniments.ment, cannot be expected to exceed that time of And it will be found, that only those professors daily practice; though it would be improper to of other instruments, who either have no feeling prevent them to practise as much as they like, for a finished performance in general, or are un- if they wish to become proficients in playing. able to show it on the piano-forte, are constantly fiddling or fluting to the lessons they give on that instrument. The consequence of which is, that their attendance only sounds well, but is of little service; and that their pupils generally remain unacquainted with the best compositions for the piano-forte, as well as with a fine and finished performance on that instrument.

But when a person has learnt a piece so well, that he can with certainty and facility execute every passage of it, there is not the least impropriety in his playing it with accompaniments. And nothing can in that case be more emulating, and more improving in taste, than his being accompanied masterly, on a violino obligato, provided the accompaniment leave him at the same ease as if he played by himself.

The question, how long a learner should practise every day? is also important, as we shall now endeavour to shew. For though it seems to be generally thought, that the more one practises the better it is, reason and daily experience tell us, that there depends more on the quality of such practice, than on the quantity of it; and that if a person practises longer than he can pay strict attention to what he plays, it is not only useless, but often does more harm than good, by leading to a careless and unattentive playing.

Concerning the question noticed before, whether it is good for a learner to be long about the same piece, or not? it is certain, that as long as a person takes instruction, his principal object is to improve, and to become perfect as soon as possible, though he also wishes to find as much enjoyment in it as he can.

It is therefore equally wrong, to indulge a learner with a great variety of pieces that are not calculated to produce a regular improvement, or to let him set about pieces which are yet too difficult for him, and which, (if he can overcome them at all) require too long a time to be learnt sufficiently perfect. And a judicious master will be particularly careful in selecting for his pupil pieces, by which he can make a quick and regular as well as entertaining progress, without being troubled too much with the same piece.

An occasional suggestion, which follows from the above question is:-whether a learner may be suffered to play by heart, or not? Concerning this it must be observed, that the capacity of remembering a piece, so as to be able to play it by heart, shews two good qualities, viz. a fine memory, and a true musical feeling. To discourage such qualities entirely, would be cruel. But to prevent their being misapplied, by neglecting the playing from notes, in playing too much from memory, it is expedient to introduce a new piece as soon as the former one is suffi

attention constantly employed, which leaves no room for his dwelling too much upon former exercises.

Infants of four or five years therefore, though (according to the method explained at page 37 of our last Number), they make a regular begin-ciently practised, and thus to keep the learner's ning, and imperceptibly learn to play by notes, yet they ought not to be made to practise by themselves; and when they are animated to play to a parent or friend, it should last no longer than they are found doing it with proper attention, and with pleasure or satisfaction to themselves, though they may be called to the instrument as frequently as it can be done without letting them feel it a trouble.

The above are the outlines of a proper method, according to which the art of playing the piano forte should be taught, or learnt, in general. And we now proceed to the second principal object pointed before, viz. to the performance itself. In regard to this it must be observed, Children of six and seven years, may be tried that there is a great difference between mere if they can regularly practise a short time by vulgar, and finished playing; between playing themselves, when pieces are given them that are only mechanically right, or with taste and feelstrictly calculated for their capacity; and in that ing; and between shining only in some trifles of case they may be allowed from a quarter to half || fashionable playing, or being an able and judian hour, twice a day, besides their playing oc- cious performer in general. These particulars casionally to their friends, to shew their improve-therefore we shall still give some consideration.

ment.

Concerning the first, or the difference between From eight years and upwards, the time of mere vulgar and finished playing, it is certain practise may be gradually increased, according that the same attention should be paid to it as to the leisure which learners have between their to what is better or worse in all the other other employments, and to the perseverance branches of a fine and polished education. For which is found in them, till it comes to an hour, a clownish pronunciation, vulgar phrases, unboth in the morning and afternoon. But young grammatical sentences, and a scrawling hand, ladies who learn music only as an accomplish-would be thought very unbecoming in the sPeak.

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