greatest merit of my life, is now completed. For any higher degree of perfection to which it may attain in the course of time, it will be solely indebted to the brilliant patriotism of Hamburgh, to the direction of which I invariably submit. I shall now proceed to a brief description of the Exchange-hall. This structure is situated near the Exchange, in the street called Bohnenstrasse. The façade is in an elegant style. The entrance has three arcades supported by columns of the Doric order, without pedestals. The steps run the whole breadth of the three arcades. The intervals of these arcades are decorated above the capitals with Genii holding garlands of flowers and fruits in basso relievo. Above the arcades are figures of Mercury's caduceus. The ends of the building are without windows. To the right and left of the flight ofsteps are the doors that lead to the ground floor of the building. The lower part of the arcades form a peristyle to the right is the porter'slodge, and to the left a stair-case, leading to the ball and concert room, in the second story, and to the balcony. This balcony is of the same dimensions as the peristyle above which it is situated; it is vaulted, and is twenty-two feet in diameter. The vaulting is divided into compartments decorated with roses and other ornaments. A niche between arch and the windows of the concert-room is adorned with a basso relievo composed of five figures as large as life; namely, in the centre, Minerva and Mercury doing homage to Plenty. To the right is the river Elbe, under the usual form of a venerable old man; and on the left you perceive the Genius of Science, and that of the Commerce. The third or attick story terminates the façade, and is provided with a row of Doric pilasters,above which is a pediment. I shall now conduct the reader into the interiour of the building, and make him acquainted with the purpose and destination of each division. From the peristyle, which has very large windows throughout its whole breadth, you go behind the centre arcade into the Hall, which is spacious, in a simple style, and decorated on each side with a row of single statues. Its length is eighty-four, and its breadth fortytwo feet. This is the place which is appropriated to the general assemblage of merchants and men of business. Every thing that can contribute to convenience and utility is to be found here. A space in front, which is divided by a bar from the principal part of the hall, is for non-subscribers who may wish to speak to any of the subscribers, for which purpose they must address themselves to the porter. From the hall you proceed into several saloons and apartments, which are as follow. The Egyptian Saloon, surrounded with columns of granite, surmounted with bronze capitals. The intervals between these colums are decorated with landscapes after the manner of a panorama, so as not to clash with the Egyptian costume. Adjoining to this are two rooms for the underwriter. Two large rooms for coffee and billiards. The Reading-room. Here are to be found all the newspapers and periodical works not only of all the countries of Europe, but even America and the Indies, which can directly or indirectly interest the merchant. Here too are kept forty-two broad, and thirty high. Eighteen light, ornamental marble columns, of the composite order, support a gallery, the access to which is by the great staircase. This hall is enriched with productions of painting and sculpture. Among the rest, at the farthest memorandum-books for posting occurrences, mercantile, political,&c. The Library. To furnish this department with all the books necessary for commerce must be a work of time. Meanwhile à considerable number of address books, topographies, dictionaries, maps, and other articles of a like,extremity of the hall, there is a kind, will be found here. The su- master-piece of the the celebratperintendance of the two last ed Le Sueur,-Apollo alighting rooms has been undertaken by from his car upon, clouds, with our patriotick countryman, Dr. his lyre in his left hand, and a Nimnich. wreath in his right. The ceiling of this hall represents the firmament studded with stars in the centre, Aurora, standing erect upon clouds, is dispersing the shades of night, with the Hours by her side. The name of this hall denotes the purposes for which it is designed; but on particular occasions it may be used either for business or different kinds of amusements. On the second floor, to the left of the great staircase, is an antiroom, with appropriate embellish ments. The Hall of Arts, whose name denotes its destination, and which is particularly adapted to the meetings of artists. In an establishment of this kind such a hall ought not by no means to be wanting. Five capital pictures here engage the attention, namely, Poetry, represented by Sappho, celebrated for her poetick genius, and her passion for Phaon ;Painting, by Alexander procuring a picture of his beloved, by the hand of the famous Apelles ;— Sculpture by Pygmalion in love with the statue of a female executed by himself: Venus at his earnest intreaty animates the statue, and you see the head just beginning to assume the colours of life;-Architecture, by Laomedon, the son of Ilus, King of Phrygia, refusing, dishonestly enough, to pay Neptune and Apollo the sum he had promised them for rebuilding the walls of Troy and Musick, by Euterpe. Portraits of celebrated men who have distinguished themselves in these arts are exhibited in medallions over the respective pictures. The great Concert and Ball Room is sixty-four feet long, The Arabic Saloon is richly decorated after the manner of that ancient and celebrated people. It contains ten columns of mahogany with gilded capitals, and the intervals are occupied by six divans. The Turkish Tent appears in the inside in the form of a tent. The Grecian Saloon, in the pure Grecian style, with Caryatides; the interstices between which are to be considered as open, and represent the Ruins of Athens, with the adjacent country, The subscribers have the liberty of using these three rooms as they may find occasion, for conferences, meetings of small parties, &c. Two spacious Dining-Rooms, so constructed, that, if necessary, the whole may be thrown into one. They are decorated with basso relievos in plaster of Paris. On the third floor are the Saloon of the Muses and the Musi cal Saloon. The former is appropriated to the meetings of literary men; and the latter is provided with musick and musical instruments, which are always kept in the most complete order. There are various other apart ments, which as yet are not destined for any particular purpose. For the advantage and convenience of this institution, a complete apparatus for expeditious printing has been attached to it. This establishment, as may be supposed can be employed by the subscribers in various ways, and is under the direction of Mr. Conrad Muller, a celebrated printer of this city. This active citizen will pay particular attention to procure mercantile treatises of every kind, and likewise translations, from whatever language they may be, with all possible dispatch and punctuality. On the ground-floor of the Exchange-Hall are apartments for taking breakfast, or any other kind of refreshment. It is scarcely necessary to remark, that the whole is furnished with taste and elegance, and that the superintendance of the establishment is confided to a man every way qualified for the situa tion. For the Anthology. to be versed in Greek is almost as THE cheapness of the stereotype editions, with the correctness of the text, and the neatness of the execution, will soon make them generally known in our country. Copies of the classicks of antiquity are not often found in the hands of even gentlemen of education and fortune among us, and good editions have always been shamefully scarce. Our young men generally exult in their release from college; and, in order to acquire the air of gentlemen of polished manners, shake off the dust of the closet, which might betray them, and magnanimously resolve to forget, what they never half learned. Since the revolution, owing either to a relaxation of the discipline at our university, or to a general mistake of our countrymen, under pretence of devotion to more useful pursuits, the study of ancient literature is so much slighted, that few can read Latin The Parisian stereotype of Virand fewer write it with ease,...while gil seems, as far as I have ex But, in spite of the little encouragement, afforded to literature, it seems within a few years to have become more respected. The high price of books has prevented their general circulation; but we shall in future be without excuse, when we can purchase Sallust for twenty cents, and Horace or Virgil for twenty-five, if the stereotype presses in England and France do not render those writers as common in the United States, as the works of Shakespeare and Pope. amined it, almost a perfect edition; but I cannot say so much in favour of Horace from the press of Didot in 1800. The first thing observable is the liberty assumed of omitting passages in this favourite poet. Had this been done only in a few instances, no friend to decency and good morals could have complained; but even then the title page should inform us what sort of an edition we were to purchase. It ought to have been called editio expurgata, or rather excerpta ex Horatii carminibus. Nearly seven hundred lines are struck out from the pages of Horace; of seven eighths of which I may confidently say, no parent or instructor can reasonably think them dangerous; of which the indignant author, could he have raised his head in the office of Didot, would have exclaimed 'Musarum sacerdos, Inspired by truth divine, Nor could the printer even have appeased him by quoting from his own page, Non omnis moriar, Whole Horace shall not die, while he designed to condemn so many beauties to forgetfulness. The reason for the exclusion of the two last lines of the fourth Ode in the first book is more apparent, than we can discover for the like treatment to many others, yet I regret the omission. The vices of the heathen can no more be concealed from us, than their unreasonable idolatry; and that among these was the unnatural love, so fully described and so justly stigmatised by St. Paul in Romans 1, must be known to every man, conversant with the writings and manners of antiquity. But I fear no pollution from such a passage. It has been gravely commented on by learned divines and Christian criticks, and even Mr. Didot was not terrified from retaining the usual reading in the second Eclogue of Virgil, Formosum pastor Corydon ardebat Alexin, Delicias domini. The next omission is the whole fifth Ode, an ode, which Scaliger has called pure nectar, which Milton thought worthy of translation by his hallowed pen, and which has been lately versified in the Cambridge Literary Miscellany by a gentleman, whose correct taste is the worthy concomitant of his purity of manners. But I have not patience to inquire into and expose this prudery. That some lines of Horace ought to be emitted, as they are usually passed over in our Colleges and schools, may seem reasonable. Such are usually marked by stars common Delphini Editions, where a boy moves in leading strings along a footpath of interpretation, and when he meets such obstacles, is compelled to encounter all the dangers of the highway of his author's text. I shall now mention, for the use of those, who would expect all Horace in this stereotype edition, what parts are omitted, quantum mutatus ab illo ! Besides those above mentioned, there are wanting the four last lines in the sixth Ode, the four last in the ninth Ode, the whole thirteenth Ode, the four last lines in the seventeenth Ode, the whole nineteenth, twenty-third and twenty-fifth Odes, the sixteen last lines in the twen ty-seventh Ode, the whole thirtythird Ode, and the four last lines of the thirty-sixth Ode, all in the first book. In the second book, Odes, fourth, fifth, and eighth are omitted, the four last lines in Odes eleventh and twelfth. In Book third, Ode sixth, the lines from 24 to 33 are wanting; Odes seventh, ninth, and tenth; in Ode eleventh the lines from 8 to 13; Odes twelfth and fifteenth; the four Jast lines of Ode nineteenth; and Ode twentieth. In the fourth book the first Ode is wanting, the last sixteen lines of the eleventh Ode, and from line 4 to 9 in the thirteenth. In the third Epode the four last lines are wanting; Epodes eighth, eleventh, twelfth, fourteenth and fifteenth; and the three last lines in the seventeenth. In Satire 2d, of the first book, lines twenty-fifth and twenty-sixth are omitted, and from the twenty-seventh line to the end. The twenty-seventh line in Satire 4th, and the lines from 81 to 86 in Satire 5 are omitted, as is the fifth in Sa'tire 8th. In the second book and second Satire the thirty-eighth line is omitted, and Bentley thought it spurious, but it is always printed. In Satire 3d, lines 238 and 325 are wanting, as are in Satire 5th from 72 to 84, and in Satire 7th from 45 to 72. In the seventh Epistle line twenty-eighth; in the fourteenth, line thirty-third; in the fifteenth, line twenty-first; and in the eighteenth from 71 to 76 are omitted. Of this long catalogue I forbear to specify those passages, which seemed to me most deserve ing of this exclusion. In lib.1, Ode 1.29, Didot adheres to the common reading, Me doctarum,' &c. though there are many criticks, who, contrary to the suffrages of all the manuscripts, think Horace must have written, Te doctarum,' &c. which highly improves the spirit of the composition. The reasons are plainly stated in a note of Dr Francis, and confirmed by much argument in Wakefield. Conjectural criticism would sometimes add graces, that never entered the mind of the original author, but if Horace did not write, as Wakefield supposes, we may be excused for wishing that he had. I cannot find that this edition has exclusively followed any former one in its text. It seems rather to have extracted the best readings from all preceding criticks, and sometimes to have ventured on new ones, as in Ode 3d, line 26, of the same book. Most of the editions read, 'Gens humana ruit per vetitum nefas ;' and Gesner, who professes to give all the various readings, has not recorded any other. But this is a fault of that famous work. The edition of Baskerville, dedicated to the Earl of Bute, reads ' vetitum et nefas,' but Baskerville is more celebrated for the elegance of his works, than their correctness. In this place however he is followed by Francis, who justifies himself by Hamelius and Sanadon, and says that vetitum' is a feeble epithet. The new reading of Didot 'per vetitum ; nefas!' is plausible and easily formed; but Horace has not often used such exclamations, and to me it seems less proper here, than it would be in the first line of Ode 11, where no critick has yet thought of putting it. Yet if we concede 'vetitum' to be an unmeaning adjunct, it seems most likely, that such was the original. Aliquando bonus dormitat Homerus, and why not Horace ? In the 7 Ode, line 5, our critick reads 'Palladis arces' with Bentley, after a manuscript of great authority at Oxford, though there appears little reason for the variation from the common text. But in line 7th of the same Ode he ad |