was in the field, and their profession was only arms. But they had moments of pause and reflection: then they founded religious houses and colleges thither, as to a focus, all their scattered rays of knowledge were drawn; and all we can know of their philosophy and literature we must be content to gather amidst dreams of monks, and impostures of the priesthood.-Yes! it is through those rustic and close avenues, that we walk to the more ample, airy space of modern science: and there even our self-esteem may unite with our love of truth, to exact liberal description and circumstantial detail: so that the philosophy of the place, in its progress from something very confused to something more clear and perfect, becomes a consideration, with which readers, of any learning themselves, can never dispense.-In connection with this, men of genius and taste will expect to find some allusions to the state of the Arts. Not that our Universities were ever Academies, in the sense of the word as now used in modern Europe, for Academies of the Fine Arts; or that our Colleges display that exhibition of excellent paintings which are found as well in the Colleges, as Palaces, of Italy: when Colleges were first built, Painting had not been much subjected to the rules of an art; it was all grotesqueness; it savoured only of the cloyster; it had advanced but little beyond the daubing of a Saint, and a founder of a College, or of the gaudiness and glitter of a Romish Missal. Yet, what then? What there was of Art among our Ancestors was to be found principally in those houses, where Abbots were Architects, and Monks and Nuns were Limners; and in our Colleges, as well as our other public buildings of the University, an intelligent observer will trace the progress of Architecture. At Cambridge we have few good Paintings; our good Portraits are but few-there are some-and we have remains of Saxon Architecture, the most perfect examples of the Gothic, and some admired specimens of all the Grecian orders.-And, though it may not be expected of an Historian to speak much in the language of the Painter, or to come with his line and rule, and to adjust the proportions of arches, of columns, of entablatures, and pediments, with the minuteness of a professor; yet in the description of edifices he must sometimes use the terms of art; and, though he has only time to take a rapid glance, and can speak only as it were from the eye, still he must consult the taste of the times, and, occasionally, delineate the immediate appearance, and general aspect of a build

ing. Next to buildings, it may be expected by some, that the groves, gardens, and public walks, ought to be considered: these are parts of our whole; and in these environs and retreats of our Lyceum, not only the passing Traveller lingers with delight, but academical Students pass their hours of relaxation and ease. In every serious work there should be room left for occasional embellishment, places--which resemble the scenery about a large portrait. - In a History of an University, the aspect of the country, and the places consecrated to retirement and contemplation, cannot fairly be overlooked. With respect to the former, though we have nothing which calls from the occasional visitor the language of rapture; no amphithea tre of rocks, nor chain of lofty mourtains; no transporting valleys, nor charm of lake-scenery; no impetuous sounding torrents, nor streams of fire bursting from the bowels of the earth; no sounding shore, no elevating boundless expanse of ocean; though, in a word, we have but little that is enchantingly beautiful, or majestically, transportingly grand; but little that invites the Landscape Gardener, and admirers of the picturesque; still there will be found, even here, what will repay description, and should be worth perusal.-The school of Plato, his Academia, it is well known, was a small garden, adorned with sta tues, and planted with plane-trees: Cicero has made a happy allusion to it, and Pliny has given a beautiful description of his own. Cowley, an enthusiast to Cambridge, we must suppose by his own testimony, was greatly attached to her groves and though Milton was

not so, we have chosen to consecrate Christ College garden to his Muse, by ascribing a fine old walnut-tree to his planting. And of his own description of garden-scenery, at least, we may say, 'manet verò et semper manebit: sata est enim ingenio. Nullius autem Agricolæ cultu stirps tam diuturna, quam poetæ versu seminari potest.' There may, therefore, be those, who, when they visit a place consecrated to Philosophy, may choose to be conducted to her gardens and favourite retreats; though the Historian, hastening to weightier matter, may, perhaps, too fastidiously exclaim with Gray, I have no magical skill in planting roses. I am no conjurer there.'-Bibliographical observations will, of course, be looked for

*"O sacri foutes, et sacræ vallibus umbræ,

Quas recreant avium Pieridumque chori," COWLEY.

by

A

HUDIBRAS.

men,

a State? Not brick and stone, and mortar; not triumphal arches, nor mausoleums that would cheat the grave: not written constitutions, antient privileges, nor rights upon charters; but ' high-minded men *,' And what are Universities? Not senate-houses, libraries, and schools; not gardens and groves; museums and chapels; nor yet monastic dreams, clerical impostures, temporary disputes, and antiquated statutes; but students, scholars, social and rational beings. Universities should be xovov πάντων παιδευτηριον, as Diodorus calls Athens; the common house of instruction in all things; and more, it should be the house of instruction for all men.

It was on this ground that Lysias lays his claim for the paramount excellence of the Athenian state. Universities relate to men more than things; and if they comport with the dignity of the name, they should relate rather to men as connected in civil society, than as broken into sects, and parties, by disputatious polemicks. Readers of their history have a right to expect the most liberal principles in those who write them; and such writers as are unbiassed by party feelings, will best meet the

* Sir William Jones. GENT. MAG. August, 1814.

views and wishes of, at least, humane and enlightened minds.-Biography is the light of History, and should be the very soul of an University History. A biographical sketch of the Founders of Colleges, some account of persons distinguished either by original genius, patient research, or happy discoveries, and known in the world by their literary works, will necessarily be considered as the conspicuous luminaries; but sometimes, perhaps, writers less known, or who have not as yet been noticed in a History of this kind, may hold out a pure light; and zealots who are accustomed to respect only their own party, may overlook many justly entitled to some notice, undervalue many worthy of public esteem, and frequently speak only to slander and misrepresent. And, what shall I say? As ages are past and gone, and we have but fragments of their ruins, so ages of men are still passing away, and what occurred too late for one Historian to record, falls to his province' who succeeds. Finally, academical habits and degrees, local customs, privileges, and benefices, may seem to claim their appropriate chapters, in an University History: but things of this kind being accurately unfolded in their proper places, in numerous publications, and being so minute, and in detail so various, may not suit every plan of History. Those who merely visit an University, are apt to be pleased with forms and habits, ceremonies and titles; they are novel, some rather splendid, and all characteristic of the place. A description of University privileges, and College benefices too, might gratify the curiosity of some, and serve the interest of others; but might encroach, beyond their due portion, on views of genera! utility. Judicious readers will form their expectations on such subjects from the nature of a work: a minuteness on all subjects is not suited to every publication, nor is it reasonable to expect it; and where matters of mere form, and local peculiarepeatedly narrated, actum agere may rities, have been minutely detailed, and be dispensed with. Cambridge Guides hand; and it may be no less prudent and University Calendars are always at than convenient, to make a general reference to what has been written before, than to detail all the particularities over again."

Mr. Dyer then proceeds to shew distinctly what has been done by others, and what he has himself attempted in the present "History of Cambridge;" which we shall take the earliest opportunity of further noticing.

22. The

22. The Spirit of the Public Journals for 1813; Fol. XVII.; 12mo. pp. 368. Ringway.

WE have frequently noticed, and as frequently commended, the industry and attention of the Compiler of this Annual Selection; and the last year has been particularly fruitful in short but ingenious productions adapted to his plan. One in verse, and another in prose, shail be transcribed. ·

"LITERARY ECONOMY.

BOOKWORMS-HOW TO KILL.

[From the Morning Chronicle, Dec. 17.] There is a sort of busy worm, That will the fairest books deform,

By gnawing holes throughout them; Alike through every leaf they go, Yet of its merits nought, they know,

Nor care they aught about them. Their tasteless tooth will tear and taint The poet, patriot, sage, or saint,

Nor sparing wit nor learning.
Now, if you 'd know the reason why,
The best of reasons I'll supply-

'Tis bread to the poor vermin.
Of pepper, snuff, or 'bacco smoke,
And Russia-calf, they make a joke:

Yet why should Sons of Science These puny, rankling reptiles dread? "Tis but to let their works be read, Then bid the worms defiance.

MARTINUS SCRIBLERUS SECUNDUS. West Felton, Salop, Dec. 8th, 1813.

[From the British Press, Jan. 4.] "Died, on Friday night, at 12 o'clock, of a rapid decline, and without the aid of the faculty, that celebrated personage, whose name will be eternized by the Poet, and recorded by the Historian, THE YEAR 1813. During his short but eventful existence, he beheld the destruction of a greater number of human beings in the field of battle, than any of his predecessors; but he had the happiness, before his dissolution, to confer plenty on millions, and to promise a return of peace to those nations so long afflicted with war: yet such the ingratitude of mankind, that his public services will soon be forgotten."

23. A New Spanish Grammar, designed for every Class of Learners, but especially for such as are their own Instructors. In Two Farts: Part I. An Easy Introduction to the Elements of the Spanish Language. Part II. The Rules of Etymology and Syntax fully exemplified; with occasional Notes and

Observations. And an Appendix, containing an useful Vocabulary, Dialogues with Numerical References to the Rules in the Grammar, a few Specimens of Commercial Documents, an Explanation of the Rules and Principles of Spanish Poetry, and some Rules for Derivation. By L. J.A. M'Henry, a Native of Spain. 12mo. pp. 324. Sherwood and Co.

IN the Preface to this useful Work, the Author thinks it necessary thus to account for "the appearance of another Spanish Grammar, especially at a time when the number has recently been so much augmented by new editions as well as fresh productions."

"It has been a matter of frequent complaint, that there is no EnglishSpanish Grammar capable of affording the necessary assistance to those persons who are obliged to be their own instructors; for although several of the Grammars in circulation possess great merit, yet most of them are written under the disadvantages which inevitably arise from an Author's attempting to explain in a language with which he is but very imperfectly acquainted. The present Work, therefore, is respectfully submitted to the candid notice of the Publick, with the humble hope, that it will be found less exceptionable in several particulars, than some of its predecessors; its author being a Native of Spain, in which country he had the advantage of a liberal education, and having, by a residence of several years in England, acquired a considerable knowledge of the pronunciation, genius, idiom, and general structure, of the English language."

After all, he modestly concludes,

"A perusal of the Table of Contents will, it is hoped, evince that the Author

has some little claim on the notice of the Publick. He trusts that the inaccu racies or misconceptions of a foreigner will be treated with some degree of lenity; and that, as he has exerted his best efforts to elucidate the principles and rules of the language, not, he would hope, without some success, his failures. will not excite illiberal animadversion, but that the sincerity of the will may in some respects tend to compensate for occasional blemishes in the deed."

Among other articles of the Appendix are,

"A concise and useful Vocabulary of the most necessary Words."

"Useful Familiar Dialogues," and "Specimens of Commercial Documents." REVIEW

HAVING promised some account of this Author's Theory, we select his principal work in preference to others of more recent daie, that the learner, who would study after this industrious master, may know where to begin with most advantage. About 18 years ago Mr. K. published his first theoretical work, entitled an Essay on Musical Harmony, founded on the system of Kirnberger, which he considered, the best that was known at that period. Having since discovered cases in which that system was incomplete or imperfect, he has improved on his first essay, and the result is the It is divided into present treatise. seventeen chapters, each of which is sub-divided into sections more numerous perhaps than necessary. One plague of this author's writings is, the frequent reference from one section to another where nothing is gained for the trouble,--something like the profitless jaunts of April-day. Chapter I. treats on Systems; 11. on the musical scale; III. ou a musical mode; IV. on intervals-essential and accidental; V. on the use of intervals in harmony and melody; VI. on chords -essential and accidental, concords and discords; VII. on the fundamental concord (Do, mi, sol) and its two inversions; VIII. on the fundamental discord (sol, si, re, fa,) and its three inversions; IX. on accidental chords -by suspension and "interruption;" X. confutation of chords by supposition,-chords of the 9th, 11th, and 13th; XI. on fundamental progres sion; XII. on modulation-natural and abrupt; XIII. on simple counterpoint; XIV. on double counterpoint; XV. on imitation and variation; XVI. on time and rhythm, XVII. conclu

DR. BURNEY.

sion-on the simplicity, completeness, and the discovery of the proposed system. The foregoing is what the author denominates the grammatical part of musick: the other part, which he would call the rhetorical-or doctrine of musical pieces, will be found in his Essay on Practical Composition (1799). According to this theorist, there are no more than two essential, fundamental chords, and all the "accidental varieties" that can intervene or occur may be reduced to suspensions and interruptions of some of their notes. He employs the term suspension, because it is generally adopted; meaning, a retarding synco pation, or a transient note, introduced in the accented time of an essential note of a chord, which suspends or defers that essential note: he proposes the term interruption as the most suitable opposite to suspension,-meaning by it an anticipated syncopation, or a transient note, introduced in the unaccented time (or latter portion) of any essential note, interrupt. ing that essential note before it has lasted the full time of its chord. "But, as in all cases a suspension is an accidental note before its respective essential one, and an interruption one after it; the former may also be called fore-notes, and the latter after-notes, according to the German vorhalt and nachschlag,

though these latter terms have hitherto been used in a more limited sense than that in which I propose them.-Though it is more simple to let suspensions or interruptions take away half the time of their respective essential notes, as in most examples in this work, they may also take away any greater or lesser part, or even one whole time of a note, if it takes up two or more succeeding times; yet they ought not to take away a whole essential note, as that would render the accidental note essential," p. 82. "Rules: 1. Any part (any sound) of the fundamental concord or discord, and their inversions, may be suspended or interrupted,

either

A

either singly, or two or three parts at once; aud by the note below, as well as the note above: 2. suspensions take place in the accented tiine, and must be resolved into the suspended essential notes, above or below, in the unaccented time of the same fundamental harmony; but when the suspended note is repeated in the same part of the next chord, the resolution may be deferred to that repetition of it, and thus take place in the accented time of the next fundamental chord: 3. interruptions take place in the unaccented time of an essential chord, and are resolved in the accented time of the next; but when the essential note which shall be interrupted is a repetition of a note in the same part of the preceding chord, its interrup tion may take away the whole note, and appear even in the accented time of its respective chord," p. 35. great number of accidental chords are produced by the intermixture of suspensions and interruptions; and these accidental require the same number of parts as their respective essential chords. The reader is now possessed of this author's peculiar method of explaining discords, instead of dividing them, like English theorists, into discords of addition, of suspension, of transition, of syncopation, &c. Another circumstance in which he differs from them, is, in allowing the imperfect triad (Si, re, fa,) exactly the same treatment as the major and minor triads without so doing, he thinks many of the greatest beauties of modulation would be lost. By modulation he means a succession of chords, with or without change of key or mode; in this respect agreeing with Dr. Pepusch. The five sounds which, on our keyed instruments, are placed between the whole tones, or rather which divide the whole tones of the diatonic scale, he terms the accidental sharp or flat extremities of the natural intervals; and allows them to be used, in a progression, between two sounds which are a tone distant, or instead of the first of those two sounds. He not very happily names them "chromalic means. All that need be added to this concise view of his principles of composition are the rules for the succession of essential chords. "Rule I. The fundamental concord may proceed to a fundamental discord, on the same or on any other

degree of the diatonic scale; but it may proceed to a fundamental concord only by a consonant progression, and not by a dissonant progression of ascending or descending a second or seventh. Rule II. The fundamental discord may descend a 5th (or ascend a 4th) to a fundamental concord or discord, or also ascend but one degree to those chords; but it cannot properly take any other fundamental progressions, in natural modulation. The progressions to and from inverted chords must be regular according to the fundamental ones from which they arise." He allows a triad and a chord of the seventh to every degree of a major and minor scale, with such third, fifth, and seventh, as are furnished by the notes of the given scale. The fundamental bass of a composi tion consists of only the roots of the essential chords; and these roots should succeed each other according to the preceding rules, in Mr. Kollmann's theory. In explaining the scale, he has injudiciously introduced ratios, evidently with no very clear conception of the term ratio. Much of his theory may be found in Grétry, who reduces all harmony to one chord. The term "interruption" (interrompimento) is used by Penna, in Li Primi Albori Musicale, p. 165, (1696), 4to. Bologna. Mr. K. is an advocate for the equal temperament of the scale of keyed instruments, as being most suitable to his theory of har mony. See our vol. LXXXIII. Part II. pp. 459, 354.

6. The Melody of the Hundredth Psalm, with Examples and Directions for a Hundred different Harmonies, in Four Parts; composed and respectfully dedicated to the Hon. Miss Charlotte Onslow, by A. F. C. Kollmann. pp. 10. 3s. Opera IX.

AS our limits do not admit of ex

amples in notes, the present small publication will supply any deficiency in our preceding article, and fully enable the reader to comprehend the Author's system, at small expence. From many of the specimens, one might infer, that harmony and noise