And if it be less simple, less easy of acquisition, and, in some instances, less harmonious than that of their immediate predecessors, it contains, at the same time, a greater predominance of air and melody, and is better calculated to make impressions new, surprising and diversified.

It was about the beginning of the century under consideration, that Italian music first became fashionable in England. The first Opera, upon the Italian plan, was performed in that country in 1705. Compositions derived from the same source, have since become more popular and general. How much this kind of musical drama, invented by POLITIAN, is indebted to METASTASIO for its improvement, is generally known.

The sacred musical drama, or Oratorio, was invented in Italy in the beginning of the fourteenth century; but was never publicly exhibited in GreatBritain until introduced by GEORGE FREDERICK HANDEL, in 1732. This wonderful genius had come from Germany to England about twenty years before, and by his zeal, and the incomparable excellence of his compositions, formed a grand era in the history of music. Perhaps no individual musician of the age has been more frequently the subject of eulogy, or filled a larger space in the public estimation than this illustrious German. His Oratorios, including the Chorusses, which he brought into use, were exhibitions of the very first order."

It would be improper to omit taking notice in this place of a new musical instrument, which the century we are considering produced, denominated by Dr. FRANKLIN the Harmonica. This is an instrument formed of glass, on which, by rubbing the finger according to certain rules, the most de

☛ BURNEY'S History of Music, vol. iv.

lightful music is produced. Mr. PUCKERIDGE, an Irish gentleman, about the middle of the century, was the first who contrived to play regular tunes on an instrument of this kind. After his death, Mr. DELAVAL, an ingenious member of the Royal Society in Great-Britain, made a musical instrument on the same principles, but with a better choice and form of glasses. In this stage of the invention, Dr. FRANKLIN undertook to investigate the subject, and considerably improved upon Mr. DELAVAL'S plan, giving it the name which has been mentioned." Since Dr. FRANKLIN, Dr. E. CULLEN, of Dublin, has formed an instrument of the same nature, but much more extensive and complicated, which he thinks so different as to require a new name. The great excellences of the Harmonica, as an instrument of music, are, that "its tones are incomparably sweet, beyond those of any other; that they may be swelled and softened at pleasure, by stronger or weaker pressures of the finger; that they may be continued to any length; and that the instrument being once well tuned, never again wants tuning."

The century under consideration has also produced a new species of musical instrument, called the Euphon, invented in 1790, by Dr. CHLADNI, a philosopher of Germany. Like the Harmonica, it is performed with the hand, on glasses; but it differs from that instrument in several respects. The music of the Harmonica is produced by rubbing the edges of glass vessels, in a circular direction; whereas the music of the Euphon is effected by rubbing the surface of long glass tubes, in the direction of right lines. In the number and sweetness of its tones, the latter approaches nearly to the excellence of the former; but is much superior in

u See FRANKLIN's Letter to Father Beccaria, on this subject

simplicity; in the case and expedition with which the music is produced; in cheapness of construction; and in having so little disagreeable effect on the nerves of the performer."

A new species of Hunting Music was invented in Russia, a few years ago, by J. A. MARESCH, master of the Imperial chapel, who died in 1794. It is performed entirely on Horns, of different sizes and figures, some long and strait, others short and curved, but all of the same tone. These instruments are said to be carried to such perfection, that the Quartettos and Quintettos of HAYDN, MOZART, and PLEYEL may be performed upon them, and the Concertos of GIARNOVICHI executed, even to the Shake, with admirable precision and ease.

The great musical Composers of the eighteenth century were very numerous. It will be possible to take notice only of a very small number among the most distinguished. Of these there were in England, ARNE, GREENE, BOYCE, AVISON, ARNOLD, and BURNEY; in France, RAMEAU, BERTIER, PICCINI, GOSEC, and GRETRY; in Germany, besides the illustrious names before mentioned, GRAUN, ABEL, FISCHER, BACH, GLUCK, FUCHS, FASCH, RICHTER, and STAMITZ; and in Italy, MARTINI, JOMELLI, METASTASIO, BONONCINI, RAIMONDE, SALAMON, ALESSANDRI, and many others.

The great musical Performers of the eighteenth century were probably more numerous than those of any preceding age. Of these by far the greater number were natives of Italy and Germany, especially the former. They were so many, indeed, that no attempt will be made in this place to give a list even of the most conspicuous. Nor is such an enumeration necessary. The fame of the as

TILLOCH's Philosophical Magazine,

tonishing musical powers possessed by NICOLINI, FARINELLI, GABRIELLI, CARESTINI, GIARDINI, RUBINELLI, MARCHESI, and a multitude of others, has long pervaded the civilized world.

The year 1784 was rendered a memorable era in the annals of music, by the splendid and magnificent manner in which the birth and genius of HANDEL were celebrated in Westminster Abbey, and the Pantheon, under the immediate auspices of the King and Queen of Great-Britain, and the other most dignified personages in the kingdom. This commemoration has been since established as an annual musical festival, for charitable purposes.* The number and excellence of the performers engaged in this commemoration, and the style of the music exhibited by them, may be safely pronounced to have exceeded every thing of the kind of which the history of the art gives us any account."

ARCHITECTURE,

In this art the last century presents little which, by the attentive inquirer, can be considered as remarkable. Many noble specimens of architecture have been produced during this period, but probably few if any of these are equal to some of the productions of former times. There appear to be two circumstances in the architectural history of the eighteenth century, in which it differs from that of preceding ages.

The first is, that the Public buildings erected during this period will be found, in general, less grand and massy than those of some former periods.

* Encyclopædia Britannica, art. Music.

In 1784 this commemoration was celebrated by 500 voices and instru ments; in 1785, by 616; in 1786, by 741; in 1787, by 806. These performers were, in general, of the very first class, collected from every part of Europe.

But while they fall short in splendour and magnificence, they are probably much superior to most of the ancient specimens of architecture in simplicity, convenience, neatness, and real elegance. This difference probably arises, in some degree, from the well known fact, that most of the monuments of ancient taste and skill in architecture belong to countries and times when despotic sovereigns were able to command the property and the labour of millions, and when building cities and temples was one of the standing habits, and chief honours of great potentates. Since the revival of the arts these circumstances have so seldom met together, and particularly in those countries which have been most capable of profiting by them, that buildings on a plan of great splendour and magnificence have been undertaken comparatively seldom. But convenience, neatness, and simple elegance, as they are within the power of taste in all nations and ages, have been displayed, it is believed, with peculiar frequency in the last century.

The other peculiarity in the architecture of the last age is, that Private Dwellings, during this period, became, in general, more spacious, convenient, and agreeable to a correct taste, than ever before. In all preceding ages, even those which were most favourable to the arts, the number of large and convenient private houses was small. While public buildings were studiously extended and ornamented, only a few of the most wealthy possessed large, comfortable, and beautiful habitations. The number of this description has greatly increased in modern times. The manifest augmentation, in the course of the last century, of that respectable and useful portion of society usually called the Middle Class, has, no doubt, led to this improvement. It may probably be asserted that a