A level country presents only two lines and general acceptation, it includes the as essential features of its general character, power of drawing whatever may be prethe perpendicular and horizontal: a moun-sented to the imagination through the metainous or hilly country will add the oblique dium of poetry, history, or relation. The or slant line. memory must be exercised and improved in retaining the objects thus presented; the sight becomes the medium through which the memory is stored, and it is thus that invention is assisted, and what is called originality established, The Flemish masters, from the flatness of their scenery, abound with Forms of the simplest kind, as may be seen in the works of their best painters. In the landscapes of Rembrandt there is often a simplicity of Form and Subject that might alarm a picturesque eye parallel lines following each other, from the horizon to the base of the picture, broken indeed by clouds taking an oblique shape, and with their partial shadows on the ground, producing all the variety his simple subject required. By this artificial mode all the lines essential to composition may be produced in the absence of actual Forms, in any view under the consideration of art. The Italian artists, from the picturesque face of their country, had all the advantage of varied lines; their landscapes are for the most part compositions, but the oblique line is always introduced with the most studied propriety. Design mostly appears in a sketch, and relates to the form and arrangement of the figures or parts into a composition or whole. In the exercise and improvement of the memory there are progressive steps by which its power may be increased, and those who have sufficient perseverance, may avail themselves of these aids, and gain time by the practice and experience of others: for, whatever may be said of genius, the sage of antiquity has well instructed us that there is no royal way to geometry; and we may be equally assured there is none to the arts. In the practice of drawing from any given example, there must be an interval of time in which the eye passes from the object to the imitation. In this interval the memory is employed, and a calculation is going on in the mind as to size, proportion, and distance from one part to another; and this according to the degree of simplicity, or complexity of the subject. It is frequently the usage of the student, (by way of exercising his memory) to repeat without his model the figure he has been drawing at the academy. From what has been observed of the essential lines that give the general character of landscape composition, it may be presumed the student has some clue to guide and direct his choice in selecting from nature; and the simplest objects that present themselves, by the aid of light, shade, and colour, may be brought to answer all the purposes of the picturesque. How very simple and how very true do we feel these definitions to be, free as The next step in this exercise of the they are from all school jargon and tech-memory, is to observe figures and characnical perplexities. The same idea is ters as they present themselves in passing; enforced in the description of the viith as also sudden and momentary effects of plate. light, shade, and colour: in short, objects are continually before the sight, by which the memory may be exercised and strengthened, and every thing in nature, by this view and habit, may be made subservient to the purpose of art. The abrupt forms in this Plate afford another specimen of the simple way in which Nature produces her most striking appearances. This outline is from a sketch, by Mr. Haugh, of the Rocks near Hartly Pool, at low water. There may be scenes of greater extent, mountains more lofty and sublime, rocks of more terrific grandeur, than what are here exhibited as examples; but whatever their appearance, or however stupendous, when seen at a proper distance, as subjects for the pencil, they will still be found under the combination formed by the three essential lines of perpendicular, horizontal, and oblique, and divided into superior and inferior forms, as they are near or remote. The other leading tenets contended, and very ably contended for, by Mr. Dagley, are connected with the use of the model, and the practical exercise of the memory. Indeed the latter is a very novel and original conception on the subject, and we shall quote a few passages to explain his opinions in that respect. Design, in its limited sense, is the power of delineating any object that can be presented to the sight; in its more enlarged Morland's early talents, and his general course of life, have led many to imagine, that all was done without effort; that it was the spontaneous pouring out of genius, without premeditation or previous study. On the contrary, his father, at a very early period of his life, kept him rigidly to the pencil, exacted tasks from him, and punished his neglect by confinement. He was by this means pushed to exertions, and obtained that facility of execution which characterized his future practice. His model, indeed, was occasionally before him; but the truth of memory supplied every thing. It was sufficient for him to see an object once, to repeat it at pleasure; his studies, if such they may be called, were always going on; not an object that appeared, but was considered by him in all its variety of form, relief, and colour: and though in him, as well as in many others, there might be naturally a strong power of memory, yet it must be remembered, the same mode of practice The use of the model, or the departure from it, must greatly depend on the subject of the picture, as well as the character of object to be imitated. There are many things in their nature and appearance so evanescent, that nothing but observation can serve to supply them; but to use the model by observation, cannot be done with any tolerable chance of success, unless the habit of correctly imitating the individual model has been acquired, and a proper portion of time employed on the deceptive in art. The memory, thus strengthened by exercise, will then exert itself to advantage, while the mere imitator dare not lose sight of his model, lest he should lose himself. We will not add to these judicious observations; and if we have selected examples from the theoretical, rather than from the elementary pages of this volume, it is because we wished to display the most original of the Author's ideas, and because, with regard to the instructive parts, we can justly pass on them the general encomium, of comprising every thing wanted on the subject. For teachers, for parents, for youth desirous of acquiring an elegant accomplishment, and for all who have a taste for the fine arts, we have satisfaction in stating, that a more unpretending and useful book has not been published in our day. It will improve the rising generation, and enlarge the scale of enjoyment for those who are too old to go to school. The plates are well engraved, and well adapted to convey the illustrations for which they are intended. The author of these poems seems to be under the influence of a strong poetical feeling; but it is truly most undisciplined and unpurposed. We have read the Minstrel of the Glen attentively, and, with contrition, if the fault lies in our want of capacity, have to confess that we could not unravel the thread of the story. Persons are mentioned, and characters are introduced, but they are so indefinite and indistinct, and left so brokenly for the description of some natural scenery or passion, that it is out of our power to connect their relative situations, or ascertain who they are, or what they are about. And this is the more vexatious, because, from the talent displayed in many passages by the writer, we feel desirous of comprehending his whole purpose: in vain,— we therefore add only a short specimen of his versification, which imitates that of the mighty northern minstrel. DAWN. Soft melt the clouded shades away, The frequent occurrence of the same epithets and the same rhymes ("light" three times in this brief extract) betrays too much haste in the composition of this poem, and the suspicion is confirmed by some grammatical lapses and other errors which must have inadvertently escaped from a writer so observant of nature, and apparently so capable of painting what he has observed. At page 69 the following line "When love imparadise the soul," affords an instance of a verb in the plural instead of the singular number; and we have afterward "calm" rhyming with alarm," &c. and an account of a Lord whose breast more high Seems bursting with the biggen'd hell, Too big within that breast to dwell: which we confess we do not understand. "To balm" is a favourite expression with the author, and he does not hesitate to coin nouns into verbs, and vice versa, whenever it suits his fancy. Upon the whole, we imagine that after a few years' experience he will be sorry that he has published this volume, in which, whatever merit the thoughts possess, is obscured and neutralized by the diction. Reflections concerning the Expediency of a Council of the Church of England and the Church of Rome being holden with a view to accommodate Religious Differences, &c. By Samuel Wix, A.M. F.R. and A. S. Vicar of St. Bartholomew the Less, London. 1818. pp. 100. This pamphlet is written to enforce the expediency of an union between the Church of Rome and the apostolical Church of England. The Author seems to contemplate even the probability of such an event, were a council assembled, and mutual concessions made. His spirit and intentions are eminently Christian; but we confess that his arguments are not of sufficient force to convince us either of the utility of the attempt, or of the possibility of its success. He seems to us to estimate too lightly the obstacles which stand in the way of his plan, and to imagine that the human mind has only to be convinced of them, in order to abjure its errors. Alas! we know that this is not the case, but that the fiercest and most obstinate contentions are, and ever have been maintained upon points the most speculative and the least important. It would be more difficult to compose men into unity of sentiment upon the question of actual presence in the Eucharist, than upon the belief in purgatory, in the intercession of saints and angels, in the power of prayers over the dead, in the use of images, or in any other of the principal subjects of difference between churches. the The benevolence of the Rev. Author leads him to extreme liberality, not only in what he expects from the Church of Rome, but in what he would yield to it. We are sure that if the other side would concede as much as he seems disposed to concede, but which we do not suppose the Reformed Church would conrede, a coalition might be the result. But we would as soon expect to see a mill-stone swim, as to see the Roman Catholics abjure the many doctrinal points, or even ceremonies, which form the valley of separation between them and us. The Reverend Author is willing to go great lengths in adopting all the customs and principles which can be sanctioned by reference to the primitive fathers or the ancient councils. If these recommend, and the Bible do not forbid, he thinks the Protestant Church might resume such practices as the burning of incense, extreme unction, and prayers for the dead. We do not observe that he discusses the difficult question of purgatory; yet it is not to be avoided in a compromise such as he advocates. As we conceive our duty, as reviewers, does not call upon us, unless we are so disposed, to go beyond the statement of the nature of the works submitted to us, we gladly avail ourselves of the right to retreat from the further notice of the present subject. The pamphlet is curious as coming from a Minister of the Church of England, and leaning_strongly towards the Catholicism of Rome, out of dread of Protestant dissenters, and hatred of Quakers and Socinians. If so grave a matter would admit of a pun, we would make one for a cockney parishioner of St. Bartholomew the Less, and address its Pastor with "Vir, ea nostra voco." But the good Samaritan spirit displayed throughout the pamphlet, would redeem a million of greater errors in judgment, or argument, that, in our opinion, it contains; and we are forced to esteem the writer, though we cannot agree with him in his sentiments. Indeed his scheme seems to be visionary in the extreme, and we will not be at the labour of examining it in detail, till he produces, from a Roman's pen, a view of possible efforts at reconciliation, equally liberal with his own. This we anticipate will not take place till the Greek Calends. ANALYSIS OF THE JOURNAL DES SAVANS, FOR OCTOBER 1818. (Concluded.) Art. V. Julii Valerii Res gestæ Alexandri Magni, &c. (See Literary Gazette, No. 90.) The opinion given of this treatise by the learned Reviewer is so decidedly unfavourable in every respect, that our readers may advantageously dispense with the detail of the arguments by which he establishes his extravagant fables, destitute of every claim assertion, that it is a mere compilation of to authenticity. There is no doubt, he says, but that Julius Valerius is a translation of the false Calisthenes; and he even thinks that this translation, instead of being, as the learned editor (M. Mai, of Milan) believes, a work of some antiquity, is the pseudonymous production of some obscure translator of the middle ages; that fiction as those of Callisthenes and Esop; and that the translation is not older than the ninth century. The MS. in the Ambrosian Library, from which M. Mai has printed his work, is very defective, wanting sixteen pages at the beginning, sixteen pages in another place, and several shorter passages, all which, however, were the work worthy of a second edition, might be supplied from different MSS. in the King of France's Library. After terminating his critique, M. Le tronne says, "This short analysis suffices to show of what the work of Julius Valerius is composed. We see that it is an undigested mass of pretended facts, of ridiculous tales, and of gross anachronisms and absurdities of every kind." M. Letronne concludes his very elaborate article as follows: "To sum up in a few words, we shall repeat, 1. That the MS. of the Ambrosian Library is imperfect, and consequently that the edition of M. Mai does not give the Latin text. 2. That this work, were it even complete, is but a bad translation of a compilation originally composed in Greek. "3. That this compilation being only an indigested collection of absurd tales, or facts entirely disfigured, related in bad Greek, has no historical value, nor is of any utility in regard to the language. "But whatever may be the opinion of the learned respecting the work of Julius Valerius, they will be equally ready again to do justice to the erudition and sagacity which M. Mai has displayed in his preface and notes, and to the ardour with which he perseveres in exploring unknown mines in search of new treasures." VI. Essai sur l'Etablissement Monarchique The object of M. Lémontey (as far as con- in the hand-writing, that of any of those The articles of Dangeau fill the first 313 the benefit of a good musical education, they have succeeded in raising themselves above mediocrity. But they must not be judged by the present standard of musical excellence. Take them with all the errors of the age in which they lived on their backs, and they will not be found to suffer materially from a comparison with some of the most meritorious contemporary composers of Germany and Italy. Purcell, Greene, Arne, and Bateshill, were men of very great powers as melodists. Their conceptions are original and vigorous, and their knowledge of harmony little below the best standards of their own age. Crotch, of Oxford, has lately proved that the spark is not extinct; and Latrobe has produced some specimens of original merit, as a composer of church music; and, what is of still greater moment to the progress of the art, he has made us acquainted, through the medium of his " Selections," with all the best productions of the German and Italian composers of sacred music.* Clarke of Cambridge, Bishop, and Stephenson, want only science, and emancipation from the shackles of our old schools, to give them a fair claim to the attention of enlightened musicians. But their defects, which arise from too rigid an adherence to the antiquated rules, and the stiff and heavy phraseology of the ancients, can be remedied only by studying diligently the improvements and extension which the art of Music has received from the gigantic geniuses of Haydn, Mozart, Beethoven, and Cherubini, in every department of composition. The analysis of this essay is very short, the reviewer being unwilling to engage in political questions, which are foreign to the Journal. M. Lémontey appears to have judged Louis XIV. with considerable severity, as other modern writers, particularly Madame de Stael in her posthumous work, have also done; but the books in which he is commended, especially that of Voltaire, By far the greatest obstacle to the prowill probably long enough preserve suffi-gress of Music in England, is the tenacity cient authority, to prevent the public from with which we adhere to that which its own deciding on exparté evidence. intrinsic merit recommended to our adopThe reviewer bestows high commenda- tion in the first instance, and which the tion on the style of M. Lémontey. approbation and practice of succeeding ages have sanctioned and confirmed. It is Some persons attribute this commentary to characteristic of Englishmen, rather to the Duc de Saint Simon. ORIGINAL CORRESPONDENCE. (Second Article.) The number of articles restored to the new reading is forty-four. The variations are in general trifling, and most of them perhaps arising from differences in the MSS. keep the good they enjoy, than risk its loss of these Memoirs. Taken altogether, they for the chance of something better. It reare of minor importance; yet we may be quires time and accumulated proofs to inobliged to Mr. L. for having rectified these duce us for a moment to lose sight of our inaccuracies, and restored some passages. old favourites, whether statesmen, philosoBut he has performed a much more useful ON THE STATE OF MUSIC IN ENGLAND. phers, or artists; to inquire whether others service by the publication of 1000 inedited may not have improved upon or surpassed articles; for though they do not furnish any National vanity rarely stands in need of them. Thus we are not yet inclined to great historical results, they are through-excitement; yet it is sometimes necessary admit that Haydn or Mozart are more intiout more interesting, which is not saying to impress men with a true notion of what mately acquainted with the resources of much, than all the extracts from the Me- they are capable of doing, in order to rouse harmony, and the various powers and promoirs of Dangeau hitherto published. They them to active exertion. Sluggish content-perties of musical instruments, than Hando not concern mere court forms, details ment, or listless discouragement, del or Arne. Yet there cannot be a doubt of etiquette, and the like, but contain acts equally inimical to progress in science; of the supreme authority, banishments, and yet something, very like both, seems lettres de cachet, ecclesiastical affairs, and to prevail in the musical world here. A even several facts relative to the history of transient review, however, of what this naliterature. tion has produced, will soon convince us It must, however, be confessed that these that we do possess considerable musical new articles of Dangeau are less curious ability. The love of the art is very generally than the notes of his commentator, who diffused, and appears, though under no from his style, which is negligent, but very alluring shape, in almost every rank piquant, and often energetic, seems to have of life. But that ability must be called been a courtier, more clear-sighted, more ac- forth and fostered, before we shall be able tive, and of stronger passions than Daugeau. to ascertain what rank we are entitled to in M. Lémontey cannot discover who this co- the scale of merit as a musical nation. mentator may be; he does not recognise | Wherever our native artists have enjoyed are but that, if the investigation were fairly recommended and set about, it would appear that we have been mistaken in our musical optimism. Handel is not the greatest of all possible composers, because he could not know what modern Artists do know. An age of diligent investigation has brought to light a multitude of musical * The four volumes which have already appeared, are deserving of the most attentive perusal. The deep knowledge of the powers of melody and harmony, which very many of them display, forms an admirable school for young composers of sacred music. combinations which were unknown to him. I tion of new expedients to draw upon him- almost in vain for us; that in the lapse of half a century since his death, we should have produced no more than one or two tolerable composers, and that too in the very department of the art in which he furnished the most perfect models, the soundest principles, and the most masterly application of them? If we could be contented with partaking so sparingly of the banquet before us, it is not indeed surprising that we did not wander in quest of other feasts. The points in which I consider. the moderns to have left Handel, and indeed all other composers of his age and nation, far behind them, are, first, the invention and perfection of the symphony; secondly, the knowledge of the powers and character of musical instruments; thirdly, in the art of accompanying the human voice; fourthly, an extended use of the chromatic scale in instrumental music; and, lastly, in the general elegance of their melodies, by the adoption of a greater number of expedients to relieve occasional monotony and vary the cadences. With regard to the first point, Haydn stands pre-eminent. He is the father of the symphony and instrumental quartett. His comThough it cannot be doubted that a va- positions display such a variety of descripriety of good models is more likely to im- tive powers, such deep and scientific moprove rising artists than the exclusive dulation, such inimitable elegance of mestudy of one only, yet if public taste has lody, that we can hardly venture to expect adopted that one, it becomes doubly necesfurther improvement in respect of these. sary to study it with attention; and, in In Handel's instrumental works, it appears order to avoid servile imitation, to endea- as if one single ardent idea pervaded each vour to extract the principles of art which movement; the parts do little more than it illustrates, not merely to copy its forms. support the principal melody; they have Many forms may be adapted to the same little independent action. On the other Whence then the spell which chained us principle by the hand of genius; and such, hand, Haydn exhibits all the modifications to the triumphal car of this one man, for I affirm, would have been the case in Eng-which the original idea is capable of receivnearly three quarters of a century? Were no land, with regard to music, had Handel ing, without deserting or even losing sight other composers to be found who might rival ever been studied with discernment. Yet of it for too great a length of time. Haydn's him in the public favour? Did he monopo- he was the sheet-anchor of music in this symphonies and quartetts may be likened to lize the musical genius of all Europe?-Cer- country: without him, it is difficult to say an engaging conversation, in which each tainly not. Handel had hardly placed his how low we might have fallen; he intro- person bears a part consistent with the subfoot on the English shores, before he dis- duced a deeper science, a purer taste to our ject, and by occasional opposition enlivens covered the true secret of popularity in this notice, and communicated a more lively en- and prolongs the amusement. Handel's country. He sought the patronage of the thusiasm for the art. He gave the impetus, overtures resemble rather an energetic hacourt; be became fashionable of course, and the inert character of the nation has rangue, in set phrases and rounded senand boldly laid claim to the first rank as a hitherto withstood any further impulse, or tences, all strictly subordinate to the main musician. He took care to supply the great any alteration of direction, which the im- argument, but never for a moment desertgaps in our musical stores, the want of provements of modern ages might reason- ing or contradicting it. The former never good theatrical and church music, particu-ably have been expected to produce. Those can be tiresome; the latter must be so occalarly the latter. By the independent rough- parts of Handel's works which are best sionally, for the generality of men would ness and enterprise of his character, he known to the community, are the least rather converse together for an hour, than kept alive the public interest, and distanced meritorious of all his productions, but they listen to one speaker for a quarter of that or beat, down all competitors. He took are the most simple, and are better adapted care to bring himself continually before the to general comprehension than his more public in one shape or other, so as to mo- scientific compositions. Yet to these no nopolize the attention of the musical world, judicious musician would look for the prinand prevent its ever settling upon a rival ciples of the art. His fugues and chromatic artist. From native composers no opposi- chorusses supply a more fertile source of tion was to be apprehended. Thus he lived musical knowledge; they demand the most for many years among a people attached diligent study, and, if properly understood, not so much to the man as to his style. would afford an admirable introduction to the They became habituated to it. He had ne- modern writers; they would teach us to cessarily contributed to confirm those habits comprehend the improvements they have by an unvaried use of the same means to introduced, and, in availing ourselves of attract them. Nothing improves artists so them, to avoid the reproach of flimsiness, or much as free intercourse with each other, of bizarrerie to which they occasionally exand that sort of open rivalship which draws pose themselves. If musical education in forth talent wherever it is to be found; England has taken this course, is it to be which puts each individual upon the inven- credited that Handel should have lived time. With the perfection of the symphony, the improved acquaintance with the powers and character of musical instruments is inseparably connected. If good voices were every where to be found, the study of instrumental music would be rather a matter of curiosity than of paramount_importance to the progress of the art. Instruments would always be subordinate, but for their more ready utility, and the infinite variety of effect they are capable of producing. The attention of musicians was therefore very naturally turned to the proper application of their powers. The capabilities of each instrument in expressing the various emotions of the soul, were diligently stu died, and parts assigned to each of them [ not merely subordinate to some one domineering power. The Stringed instruments were found less capable of expressing certain passions and their modifications than Wind instruments; and the latter acquired a degree of importance which had not previously been conceded to them. So that according to the character of the transition to be expressed, the Flute, the Clarionet, the Bassoon, and even the Horn, sometimes lord it over the Violin, the Violoncello, and the Bass. The soft tones of the Flute sometimes subdue the energies of the Stringed instruments, which seem but to support and encourage its timid strains; again the harmony is seized by the Violin, with the support of other instruments, and suddenly the full orchestra bursts into an irresistible flood of harmony. The torrent then subsides, and the Violins maintain a general, though by no means undivided sway, resigning it whenever the general effect to be produced requires. This expedient was almost unknown, till Haydn appeared; its value was not apparent till Mozart first, and Beethoven after him, had proved by a multitude of new and striking instrumental combinations, that it is an absolutely inexhaustible source of musical expression. T. G. Thursday last, the following gentlemen were admitted to Degrees : 19,339,280 souls. Denmark, with an im- | Joshua Lucock Bragg, Scholars on the old FINE GREEK ANTIQUITIES Extract from a Letter written by the Engi- Among the curiosities of this place are the remains of antiquities of the time of the Greeks, who planted colonies here. In the beginning of this month, in digging up a hill, a stone vault was discovered, which contained a corpse six feet and a half long, in a very good state of preservation. The head was ornamented with a gold garland of laurels, and on the forehead a golden medal, which represents a man's head with the inN.B. The next sheets will complete the re-scription, Philip. On both sides of the marks on the superiority of the modern compo- corpse stood golden and earthen vessels, sers, and point out the probable results of our as was the custom among the Greeks, also adherence to the same defective system of musi- several golden chains and earrings; and on cal study. one of the fingers was a gold ring with a valuable stone, on which were represented a male and female figure, all of exquisite workmanship. From all this it may be concluded that this was the burying-place of one of Philip's generals. A German Journal gives the following account of the Population of some of the Northern Nations. Bavaria comprises 1,406,000 square miles and 3,344,000 inhabitants; Wurtemberg 346,172 square miles, and 2,386,400 inhabitants; Saxony 338,000 square miles, and 1,292,958 inhabitants; Denmark, 2,761,000 square miles, and 1,700,000 inhabitants, including its colonies; Sweden 16,155,000 square miles, and 3,307,922 inhabitants. Thus every thousand square mile of Bavaria contains 2,378 inhabitants; of Wurtemberg 7,988; of Saxony 3,789; of Hanover 1,897; of Denmark, including its colonies, 616, and of Sweden 205. For Latin Verses-Syracuse. For an English Essay-The character- cipue in Causa, quod Roma de Carthagine The first of the above subjects is intended Consequently, the six above-mentioned Thursday last, Mr. Edward Dickinson MASTER OF ARTS. Rev. Frederick Vane, Taberdar of Queen's College BACHELORS OF ARTS.-Thomas John Powell, of St. Alban Hall; Henry St. Andrew St. John, of Wadham College; William Swift, Edward Dickinson Scott, and George Chilton, Scholars of Queen's College; Walter Matthews Paul, of Balliol College; The Most Noble the Marquis of Titchfield, of Ch. Ch.; Richard Pearson, of St. John's College; Alfred Tooke, of St. Mary Hall; William Carre Tupper, of Pembroke College. CAMBRIDGE, DECEMBER 11. The subject of the English poem for the Chancellor's gold medal for the present year is-Pompeii. On Friday last, the Rev. William Williams, of Queen's College, was admitted Bachelor in Divinity; John Primatt Maud, of Caius College, Master of Arts; and William Henry Harvey, of Jesus College, Bachelor in Civil Law. Mr. Edward Wilkins, of King's College, was on Tuesday last admitted a Fellow of that society. ARTS AND SCIENCES. MR. COLERIDGE'S LECTURES. On Monday evening, Mr. Coleridge commenced a course of weekly biographical and historical lectures on the most important revolutions in the belief and opinions of mankind (See advertisement in our last Number ;) and on Thursday another course, on six selected plays of Shakspeare. These lectures are delivered at the Crown and Anchor Tavern in the Strand. That of Monday was principally introductory, shewing the progressive state of civilization, and the consequently improved state of human reason. Mr.C. denied that true philosophy had any and entered largely into a view of ancient existence before the days of Pythagoras, history, as illustrative of the subject. There was much novelty in the manner in which he handled this branch of his theory. than this brief notice, which may, howWe can at present afford no more ever, direct the lovers of science and inquiry where they may reap information in an uncommon, if not an unique way. |