LES QUATRE CONCORDATS. [Second Extract from the new Work of M. de Pradt.] appear in it, this defect must betray itself | logian of Lorraine, named the Abbé Du- | bass was added, and, within the last two in all its efforts, in politics and life, in vivier, an exciter of troubles and un- centuries, accompaniments in several partsscience and in art, in every thing great by derhand manoeuvres. Scarcely had this were introduced. Those of Handel and which humanity is ennobled and adorned." report been read, when the flame broke his cotemporaries are mostly in three only. out on all sides. The Suffragan of Mun-ously, from the imperfection of the ancient The defect in this respect arises, obvister, Baron de Drost, spoke first upon the symphony, until the age of Haydn. The captivity of the Pope. He was followed powers of this species of harmonic combiby an ancient constitutional Bishop. The nation were then applied, in their full discussion was begun, the excommuni- vigour, to operatic and church music. cation was alleged, the four proposi- Mozart is justly considered superior to all, tions of Bossuet were quoted and rejected. ancients as well as moderns, in combining The Archbishop of Bordeaux, a venerathe symphony with the human voice. Hanble prelate, half rising, threw on the del was as sparing of wind instruments in table of the bureau, at which he sat as Mozart, on the contrary, evidently favours his accompaniments as in his symphonies; Secretary, a copy of "The Council of them, as the most agreeable of all supports Trent," opened at the Article of the to the voice. He has proved that the fullest Session which gives the Pope the right accompaniment need not, if judiciously to excommunicate Sovereigns, whatever managed, either overpower or even draw may be their rank, if they touch the off the attention from the vocal part. His rights and privileges of the Church, say-phonic melodies, which, while they delight interludes exhibit the most beautiful syming, with a broken voice, Condemn the the ear, prepare it to receive the original Church then.” Two hours afterwards air with tenfold pleasure when it recurs. the council was dissolved.' The ancients, particularly our own national school of church composers, are too fond of the unison; during the intervals of they repeat the rest for the voices, variation; generally without any at all. melody, or parts of it, with too little This, I submit, was one of Handel's errors, and was productive of that degree of monotony which now disfigures some of his most beautiful melodies. A meagre accompaniment is much worse than none at all, because it casts a chill over the whole performance. Hence, in no shape are Handel's works so eminently successful as when additions; in which that great composer performed with Mozart's fine orchestral has endeavoured to support and vary them with all the powers of the modern symphony, yet without overpowering the voices, overloading the parts, or departing from the spirit of his author.† M. de Pradt endeavours to prove, in this work, that the discipline of the church ought to be modified according to political institutions, and to the progress of human knowledge. Nobody, before M. de Pradt, had painted, with so much truth and energy, the dark and tortuous policy of the Court of Rome. He accumulates arguments and facts, which prove, beyond contradiction, that for these three centuries there has not been a temporal arrangement made between Rome and France, but the latter has been duped in the bargain. Napoleon himself, the most artful, as well as the most imperious of Sovereigns, could not render himself master of the diplomacy of the Vatican. He had, however, the glory of getting out of the hands of Pius VII. a letter of submission written by the proud Louis XIV. and which the Popes used as an arm against France. Buonaparte burnt it at St. Cloud, in honour of the Kings who owe him this small obligation. heads!" M. de Pradt repaired the next day to Trianon with the Duke of Rovigo. Buonaparte came to meet them, quite agitated, pronouncing several abrupt sentences, such as these:-"I was walking upon an abyss without perceiving it. The greatest fault I have committed is the Concordat.-They have spoiled me, my Italians !-Not to accept the propositions of Bossuet !"-When he It is remembered that many Cardinals had sufficiently repeated his Italians, his would not be present at the religious cere- abyss, his Bossuet, his Concordat, M. mony of the second marriage of Napo- de Pradt reproached him with having leon. Only thirteen attended it, whereas abandoned the Clergy of France to the thirty had been present at the civil cere- bad example of the opposition of Cardimony. M. de Pradt says that the Em-nal Fesch, to the secular debility of peror was furious; and that he repeated Cardinal de Belloi, to the impudence of several times, "The fools! the block- Cardinal Maury. He reproached him for having suffered a man of weak intellect It appears that it was in consequence to be the President. To the great astoof this dissatisfaction, and to remedy nishment of the Duke of Rovigo, who the perpetual embarrassment which re-made signs expressive of surprise to M. curred on every refusal of canonical de Malines, over the head of Buonaparte, institution, that he desired to modify the latter received this shower of rethe Concordat of 1516. But it was in monstrances with a noble and patient vain that he endeavoured in the council resignation, contenting himself with reof Paris, to extort from the policy of the peating, in a voice of emotion, "We Court of Rome some concessions which reap only what we have sown; the would have disengaged the temporal Concordat is the greatest fault of my from the spiritual concerns of religion. | life." It seems that he had misconceived the spirit of the French Clergy, or rather forgot to calculate that this body was always directed by the Pope, who, though a prisoner at Savonna, was, nevertheless, master in the council, which was soon dissolved. M. de Pradt, who excels in descriptions, relates this event in the following manner :— "The Bishop of Tournay made the report. This prelate was much given up to the counsels of an acrimonious theo ORIGINAL CORRESPONDENCE. ON THE STATE OF MUSIC IN ENGLAND. With regard to the superiority of the I With regard to the fourth point, in which have ventured to consider the moderns superior to the ancients, namely, the use of chromatic modulations, I shall confine my remarks to Vocal compositions, both besuperiority of the modern symphony, and cause I have already made mention of the because vocal music, being the most popu * See Mozart's Recitative, Crudel ah mio ben, &c. Don Giov. Act II. without any instrumental additions, is by far the +lt is my sincere belief, that the vocal chorus most powerful and effective of any species of composition, provided the performance comes up to the degree of excellence it requires. The music of the Sixtine Chapel is well known. From my own experience, I can speak of the modern Russian church service, which I believe to be superior to any other, of the same description, upon earth. The deep science, the ung aral eled solemnity and pathos in the composition, is fully supported by a choir of the most melodious throats in ChristenCasan Church at St. Petersburg. There is among dom. I allude more particularly to that of the their number a hass voice of such amazing power, that its deeper intonations have the effect of an organ-pipe, and cause a tremulous motion of the ground in a floored chamber. 66 and the music of the present day keeps pace with the movements of the wildest and most poetical imagination.* lar, will supply examples more familiar to shackles of art, yet without prejudice to the the generality of readers. But on this sub-fundamental laws of harmony. I am not ject I am anxious to be well understood. aware of any more effectual method of exIn order to avoid the charge of presump- emplifying this remark, than by pointing In approaching the last point, namely, tion, I need only suggest that, limited as out to your readers, several instances of the the superior elegance of the melodies of the our faculties are, the greatest proficients in pathetic style of the most celebrated foreign moderns, I will not apologize for the wide difart or science cannot or ought not to be church composers. There is not a more ference which I am well aware exists between considered in any other light than as step- exquisite example of pathetic melody than myown notions and those of the majority of ping stones for further progress to their an Agnus Dei," of Mozart, which is now English amateurs. Time and experience successors. We are not to stand at a dis- frequently performed at the Portuguese alone can decide the question, and to them tance in passive admiration; they invite us Chapel in South Audley Street. A cho- I appeal, demanding only an unprejudiced to approach, examine, and compare them; rus of Groans, from his Oratorio of the hearing. A preliminary remark or two are and we should indeed but poorly perform "Death of Jesus," next occurs to me; † necessary, to place the subject in a proper our duty towards them, were we to omit and I am persuaded there does not exist a light. A melody in music is, strictly speakthe scrutiny. I might have felt awed by being who could resist the thrilling melan- ing, no more than a few sounds, arranged the sublimity of Handel's devotional com- choly which it breathes throughout. There in such metrical order, and following each positions. I might have been withheld is an air of a similar description, in a ser- other at such intervals, as to produce cerfrom approaching that immortal genius vice for Good Friday, by Francesco Du- tain pleasurable feelings. In respect of the with the profane breath of criticism. But rante, the accompaniment to which is a air, it is what the single verse is in respect when I reflected on the enthusiastic strains fine specimen of the application of chro- of the distich or stanza. An air, therefore, of prayer and praise which every where matic harmony in the pathetic style. I may be said to be a series of connected assail our devotional feelings, in the masses next refer your readers to a chorus, Qui and related melodies rhythmically joinof Leonardo Leo, Hasse, Michael and Jo- tollis peccata Mun li,"§ in Pergolesi's grand cd together; so that though each indiseph Haydn, Pergolesi, Mozart, and Beetho- Mass. This is an instance of the most pro-vidual part may have a sense of its own, yet aven, then, and then only, did I feel con- found knowledge of musical effect, and a the subsequent one more frequently exvinced that Handel was not aware of the masterly application of the principles of plains its full meaning, while it enlarges, 1 full powers of chromatic harmony in ex- chromatic harmony. The melody is pathos embellishes, and varies it. Thus an air may pressing all the fervency of devotion, all itself, yet it never burthens the ear; it is contain any number of musical ideas; and the changeful emotions of highly wrought always intelligible; and the re-introduction it is therefore obvious, that the connexion religious feelings. There is, however, one of the original air, after occasional depar- of those ideas, their variety, and elegance fact, which cannot lave escaped the observa- tures, is prepared with admirable skill and of expression, are as material to the pertion of any one at all familiar with Handel, effect. One more example from Haydn, fection of the air as to that of the poetical and that is, the superior skill with which he consisting of a bass air and chorus, and stanza. And here it may be not improper has availed himself of chromatic harmony, taken from a Mass, (No. II.) to the words, to remark, the great advantage derived in his pathetic chorusses and melodies. "Qui tollis peccata mundi." || With regard by the father of modern music,† from the Herein lies the power of Handel; this must to this production, I shall content myself strict connexion which subsisted in his ever remain the most durable foundation of with pointing to the bursts of the chorus mind between the poetical and the musical is fame. I need only refer to that most and the accompaniment, p. 131.¶ "Sus-imagination. He thus introduced into his affecting air in his Messiah, "He was cipe deprecationem, &c." The rapidity of melodies an air of reality, which we in vain despised," which breathes the purest devo- the chromatic changes in this passage look for in those of his predecessors. The tional melancholy. In his Samson, the throws all the science of the ancients into musical idea, though originally vigorous chorus in which the Israelites bewail the the back ground. and impressive, may be clothed in a death of their Hero is a master-piece of The selections above alluded to fur- phraseology so clumsy as to deprive it of musical lamentation. The transitions of nish numerous instances of a similar de- all elegance. This phraseology is as capathe harmony are so managed as to express, scription, and are highly worthy of the at-ble of improvement as the modes of expreswith great force and truth, that sinking of tention of those who compose for or con- sion in poetic language, and by the same the heart, those paroxysms of grief which duct our cathedral services. I cannot sug means, namely, study and experience. To accompany a profound sense of calamity. gest any expedient more likely to free our oppose to prejudices in favour of the anThe same holds true, in a great degree, of church musicians from the pedantry and cient methods, there is the same antecethat admirable duet in Iudas Maccabæus, inelegance of the ancients, than a thorough dent probability of improvement in this "From this dread scene," &c. In short, study of the Masses of Pergolesi, Hasse, branch of musical knowledge as in that of wherever he is pathetic he is always pro- Haydn, and Mozart. It will exhibit to harmonic and instrumental combinations. foundly so. Yet it is not less obvious that them the energetic beauties of the old And, in fact, we do remark, in the airs of the most beautiful of this class of his pro- schools purified and adorned by refined Haydn and Mozart, that beautiful connexductions want the ethereal step, the ever taste, and their powers enlarged by the in-ion, that perpetual variety of expression, varying elegance of Pergolesi and Mozart. spirations of original genius. They will Whatever the variety of Handel's modula- find nothing destroyed, no useful doctrine tions, in any one production, yet, upon neglected, no sound rule overthrown. Such comparison with other writers, it will be only as necessarily fetter and confine the found that they pass through too regular a imagination, have been discarded. Boldsuccession of carefully prepared transitions, ness has taken the place of timidity; rapid which, in the music of melancholy, throws a transitions have succeeded to the laboured burthen upon the heart without alleviation; preparations and resolutions of the ancients; and, like a long succession of dark imagery in poetry, rather pall than satisfy the sense. The duet, From this dread scene," is an instance in point; the movement of the whole has too much sameness; the parts relieve each other with exact regularity; and, where they join, trot on together withour altering their pace. The feeling, though beautifully expressed, wants that irregularity of passion which throws off the 46 * V. Latrobe's Selections, Vol. I. p. 134. the English words, " He was despised," &c. Version of the Psalms, in Ps. xxviii. 2, 5, 6. that polished elegance of manner, which are so rarely met with in Scarlatti, Corelli, Handel, Arne, or Gluck. They have not the power of displaying their subjects in so great a variety of lights, or of adorning them with that profusion of musical imagery, so familiar to their successors Haydn, * See the introduction to Haydn's Creation; also, the Recitative, "And there was light;"' also, Mozart's Grand Requiem, the Chorus at the end of the first act of Don Giovanni, and the music to the ghost scene at the end of the Opera. + It is said of Haydn, when about to compose, that" noting down his principal idea or theme, and choosing the keys through which he wished it to pass, &c. he imagined a little romance which might furnish him with musical sentiments and colours."-Lives of Høydn and Mozart, pp. 97, 98. The whole number of Degrees in Michaelmas Term was-Three D. D. -One D.M. Incorp.-Two B.D.-One B.C.L.One B.M.-Twenty-fourM.A.-Sixty-seven B.A.-Matriculations, 130. At the extraordinary sitting of the French Academy, on the 2d inst. Count de Segur read a moral fragment, entitled Gratitude; M. Lemercier, a poetic composition against the Love of Solitude. Count Daru closed the sitting by reading an extract from his History of the Republic of Venice, entitled, Des Sciences, de la Literature et des Arts, chez les Venitiens. Mozart, Cherubini, and Beethoven. The of their studies. Our situation as islanders, | compounder; John Russell, of Exeter Collatter intersperse their airs with such agree- is perhaps favourable to originality in lege; Edward Pettman, of Trinity College; able variations or characteristic interludes, other arts, yet in music, which is indubita- Richard Webb, of Queen's College; Hely Hutchas are calculated to reintroduce the original bly not of vigorous native growth in Eng-inson Smith, of Balliol College; Edmund Henry melody with the greatest possible effect, land, we must depend in a great degree Whitley, Robert Chambre Vaughan, Richard Penny, Scholar, Charles Hewett, Esq. William and with renewed charms. A considerable upon unreserved communication with the Ramsay Warde, and John Owen Parr, Scholar, latitude for musical transitions, and at the continental nations, and a diligent study of of Brasennose College; Joseph Weld, of St. same time for setting off the voice to the their best artists. Hitherto this course has Edmund Hall; Daniel Veysie, Student of Christ greatest advantage, is thus gained. If this not been pursued. We have been contented Church; Richard Jones, and Watts Wilkinson, expedient was familiar to Handel (as per- with a partial and superficial study of Han- of Worcester College. haps may be asserted,) how are we to ac- del. Our composers have imitated and count for the lame and impotent conclusion borrowed from him, not his principles, of that most happy effusion of his genius, but his forms; and these they have hi"I know that my Redeemer liveth." The therto mistaken for the true secret of that same deficiency is remarked in a very great universal captivation by which he has so number of his airs, of which it is unneces-long held us enthralled. See then how our sary to multiply examples. Three will suf- native composers have fallen! Our melodies, fice, and those are among the most popular. without the richness,have all the inelegance, The favourite air in the Messiah," Every monotony, and defective cadence, which so valley," &c. is the first; the second, "The frequently derogates from those of Handel. shalt not leave his soul in hell;" and the third Yet, in general, his airs, and his accompaniis, “O had 1 Jubal's lyre:" in these airs ments in three parts only, have more prothere is scarcely a change of key through- found musical science, more felicity of conout, and very little variation of the original ception, more elegance, pathos, and sublimelody; the ornaments are formal, and the mity, than is to be found in the works of movements uninteresting, uniform, and any subsequent composer of our own nation. heavy; yet they are favourites with the pub- Such is the encouragement which a contilic-for them the innumerable beauties of nuance in the same course holds out to us! that great author are neglected and forgot- Such is the perpetual unimprovable medioten. This is a sad reflection upon our na- crity to which we condemn ourselves! tional taste. These airs, and others of a T. G.t similar description, have been arranged and adapted for the Fortepiano over and over again; and yet we have not a single good edition of his works brought into a tangible shape, so as to be open to the unlearned public ;* not even a judicious selection of his most meritorious chorusses and airs; they lie in their original score, neglected by all but scientific amateurs, and occasionally only displayed to the public, at the ancient concerts and theatrical selections during Lent. Good music, to be properly understood and relished, must be disse minated. But whether the foregoing remarks are founded in truth or fancy, yet I may safely appeal to all judges of music upon the truth of the general proposition, that the palm of elegant melody is due to the moderns. I may go further, I may appeal to the general feeling of the country. For if it be not in favour of the moderns, why are Handel's Operas never, and Arne's so rarely, introduced on our stage? The fact is, that it is universally felt that they never would succeed in competition with Cimaroza, Paesiello, Paer, Mozart, and Cherubini. Since the very first introduction of the Opera into England, excepting the compositions of Handel and Arne, hardly any other than Italian productions have been performed. English artists have very rarely, if ever, succeeded in this department of the art; and that, not because an unseasonable attachment to Italian operas on the part of the public, afforded no adequate encouragement to native composers, but because the latter have not sufficiently extended the bounds I am aware that Dr. Clarke has published, or perhaps is still publishing, an edition of Handel's works, for the Organ or Fortepiano. N. B. The next sheets will contain some remarks on the manner in which music is treated and taught in this country, and also of our defective institutions for the study and promotion of the art. THE FINE ARTS. ENGRAVED PRINTS. The trial of Queen Catherine, and the portraits of the Kemble family. Engraved in Mezzotinto, by Mr. Clint, from au original picture by G. Harlowe. It must be in the recollection of all the lovers of the Fine Arts, that an impression highly favourable to the talents of the Artist was + As the present No. of the L. G. concludes a volume, it was not our intention to have any sub-made on their minds, as well as on the ject continued to the next: it gives us pleasure general public, when this Picture appeared. to observe, therefore, that this essay exhausts our It was just'y remarked at the time, that able Correspondent's original design, and that his there were parts which no master, ancient announcement indicates what may be considered or modern, ever surpassed; that as a whole, a separate treatise on the existing state of music it exhibited a rare assemblage of striking and musical tuition in England. His remarks will and captivating qualities in painting; that individual likeness was united with just expression; and that a brilliant and fascinating glow of colouring contributed to throw a charm over it, which could not fail in its effect upon the imagination. appear in our two next Nos.-ED. ERRATUM in last No. p. 807, 1st. col. for monstrous read monotonous. LEARNED SOCIETIES. OXFORD, DECEMBER 19. On Thursday the 17th instant, the last The same day in Congregation, the We are now to speak of the Print, which is upon the eve, or it may by this be before the public. On a former occasion we noticed the outline, and remarked on the promising appearance it assumed; and we are now happy to say the Print has not fallen below our expectations, allowing (as must always be the case) for the difference between colour and mere light and shade; nor have we a right to expect the golden hues which make up, very often, the whole mass of the painting, to be effected by black and white. The application of Mezzotint to the profol-posed size, was an obstacle to be got over; and the sparkling character of the painting we feared might be lost from this mode of engraving. But, happily, the mixed manner of etching, and the improved state of that process, has obviated the difficulty, and the Print exhibits a valuable specimen of the united talents of the Painter and the Engraver. College; Rev. Francis Nicholas, of Wadham In comparing this print with the publica tions of Messrs. Boydell, in which the talents of Dixon and Earlom were so eminently displayed, we see nothing to damp our hopes and our expectations that the print trade of this country may speedily attain the distinguished advantages it once possessed. The Gallery of Pictures at Dulwich College is now closed; and the several works it contains have been taken down for the purpose of being cleaned, under the directions of the Royal Academicians. ORIGINAL POETRY. [Literary Gazette.] CHRISTMAS MORN. This is the Morn of victory, In gold, with trooping spears englobed ; There was no pomp-for on this Morn [By Correspondents.] TO A LADY SINGING. TRISSINO. Believe I dote upon the strain And showing joys ne'er seen before. Thy voice obeys no common bound, Of heaven's own linking seem the notes, LINES SKETCHES OF SOCIETY. THE HERMIT IN LONDON, E. W. SKETCHES Written in the Church-yard of Richmond, York- "It is good for us to be here, if thou wilt let us make here three Tabernacles, one for thee, one for Moses, and one for Elias." Methinks it is good to be here, If thou wilt let us build-but for whom? Shall we build to Ambition? Oh no! For see, they would pin him below In a small narrow cave, and, begirt with cold clay, Nor knows the foul worm that he frets The skin which but yesterday fools could adore, For the smoothness it held, or the tint which it wore. Shall we build to the purple of Pride, And here's neither dress nor adornments allowed OR OF ENGLISH MANNERS. No. XXV. "Well, Stephen," said I, to an old "how are you to-day?" acquaintance, Considering existing circumstances,' "What replied he, I am pretty well.' circumstances?" said I. Oh!' answered he, nothing but the pressure of business, a general correspondence, letters innumerable to answer, precedents to examine, friends to oblige, etcetera.' Very odd," thought I! a merchant's son-a stupid one, too— plenty of money -as idle as a sloth! what can all this mean? I sat down and glanced my eye over the paper; whilst he stood, leaning on the left haunch, the right foot advanced, his head a little inclined towards me, his right hand clenching a twopenny-post letter, rounded like some of the bad statues in our squares, his left hand thrust into the pocket of his pantaloons, But the long winding-sheet and the fringe of the and his whole figure displaying a studied shroad. To Riches? Alas, 'tis in vain; Who hid in their turns have been hid, To the pleasures which Mirth can afford, Ah! here is a plentiful board! But the guests are all mute as their pitiful cheer, Shall we build to Affection and Love? Unto Sorrow?-the Dead cannot grieve; Peace! peace! is the watchword, the only one here. Unto Death, to whom Monarchs must bow? And here there are trophies enow! the skies. I now read a few lines more of the paper. Stephen the while looked at a parcel of letters and smiled. assuming another studied attitude, he faced his mirror again." The Queen very ill," said I, "I am truly sorry for it, her constitution seems to be." Here Not a word about he interrupted me. "Foolish!" the Constitution,' said he.cried I, with a peevish look. The young "Poor man's idiotism disgusted me. Queen!" resumed I," she was a pattern Here he of conjugal respectability." coughed, and scraped his feet. good mother," continued I. hear,' cried silly Stephen. " Upon my "A Hear, word," replied I, you seem to be so occupied and so out of reason, that I wish you good morning." I hastily withdrew; the young man remaining fixed before his looking-glass. Chair, chair,' I heard, as I went down stairs. Meeting an old servant of his, I said to him, I fear that your master is not well. He seems in a kind of hurry that is not consistent with sound reason. He was a very silent dull boy when he was at the Charter House, and he now does nothing but talk, and that very incoherently too. Law bless ye!' replied honest John, he is only a little overjoyed and proud. He came home last night from Cornwall; and he has done nothing ever since but place the chairs like so many folk, walk in and out of the room, practise how to take a seat with a particular grace, rise up and sit down again, screap us feet, and cough, change us hattitoods afore the glass, crie Aye and Noah! Order! hear, hear!' "Very bad symptoms indeed!" observed I. 'That's not all,' said John. He takes up a sheet o' piaper and fills it with naute but us name, and then he rung for I, and when I came into the room, he made me sit down in a high chair, and standing up afore me with a quire o' piaper rolled up in his hand, he muttered some gibberidge, called the blank piaper a rode bill, and then bid me go about my business. Now I knew that I paid all the bills last week. Taking pity on him, as I shut the door, I opens it again and looks back, saying, 'Master, when will you have dinner?' "When the plebous question is disposed of," said he," at the division-when the house is up."' Aye, its all up with him," said I. 'Well, so thought I,' cried John, laughing immoderately, I thought as how master was turned out a right fool at last but its noah just that; he's - only made a parliament man of. As been down and bought a burrough and every mother's son in't; and us come hoame as pleased as the pigs (a pretty simile.) The packet afore him were franks; and he as rit us name fifty toimes to practize (the word syllabled, and the tize being as long as my arm.) He as also spoiled a quire o' piaper in writing to umself with a large M. P. at the end of us neame. I mentioned master's madness to Lord Liverpool's scullion; and he towl'd me for my comfort never to mind: it was only a boyish freak. "Bless you," says the scullion, who reads the debates every day, "let'en have his way; its only the glory of the thing-the impulse o' the moment; when he comes to the House he'll be as mute as a mack'rel." I wish he were there now, said I. Here ended John's account; and as I was going out of the door, I heard silly Stephen call John. John! John!' said he, run after the gentleman, and ask if he will have a frank? I have only received one letter from my constituents, containing a publican's bill; it shall be laid on the table. No! on second consideration, it shall be thrown out. Therefore, John, you see that I have lots of franks to give and to receive; and if you want to write to your friends you may call upon me. They may direct, too, to you, under cover-mind, under cover to Stephen -, Esq. M.P. You know that I am now returned.' Mercy defend us, cried I! what a resemblance there is betwixt St. Stephen's Chapel and St. Luke's Hospital! - THE HERMIT IN LONDON. CURIOUS SUPERSTITIONS AND CUSTOMS OF THE LITHUANIANS. The people of Lithuania believe that it is not good for a corpse to be in such a situation that it may be seen in the looking-glass. Some looks at himself in the glass; it is therefore even say that the dead person gets up and the general custom to hang something over all the looking-glasses in the room where the corpse lies. Throughout the whole Place Royale there was not a man more generally respected. than Simon Lambert. The proprietor of Several flourishing manufactories,possess ing a considerable fortune, the chief portion of which he distributed among the unfortunate,-married to a woman he loved, and the father of a beautiful family,his happiness was complete. Nothing but a certain little blue book could have persuaded him to the contrary. This little book regularly declared, at least once every week, that France was groaning in slavery, that the glory of her brave soldiers had faded away, that her manufactories On new-year's eve they burn tow. Every were deserted, that the liberty of speaking, girl takes some tow or flax, rolls it fast to-writing, and thinking, had become a crime, gether in a ball, sets it on fire, and throws it and that the fagots of the Inquisition would up into the air. She whose ball flies the soon be kindled in the public streets. Simon highest, or burns the longest, will be mar- Lambert sincerely loved his country :—this ried the following year. picture distressed him, and he reproached the old friends with whom he sometimes entered upon political discussions, on the Boulevard-Neuf, or at the Jardin du Roi, for having so treacherously concealed from him the real state of affairs. If they spin on Shrove Tuesday, the flax does not prosper; but if they ride out on that day, they have good flax. Through all Lithuania, therefore, they ride abroad on Shrove Tuesday. If people do not go out themselves, they at least send their ser When the grass is mowed at new moon, the cattle do not eat it, or at least do not like it. This is asserted by sensible farmers, who are, in other respects, more free from superstition. When the master or mistress of the house dies, notice of it must be given by rattling the keys to the horses, and other cattle, and particularly to the bees; otherwise, the cattle die, the trees wither, and the bees perish, or take flight. If a hare runs across the road, it bodes misfortune; a fox, on the contrary, a happy journey, and good news. Good Friday, is in danger from the lightAny one taking a needle in her hand on ning. To do any kind of work on that day brings misfortune. Girls must be weaned in the wane of the Madame Lambert, whose attention had hitherto been solely devoted to the care of band's alarms. her family, now began to share her husBut," said she, "it may be all a mistake? Have you read, and understood it rightly? Suppose, instead of the little blue book, we were to consult the Authors themselves !" The advice was excellent. But could it be expected that men of such lofty genius would condescend to visit the house of an obscure citizen? Who could hope, ven for a moment, to draw them from the centre of the capital which they enlighten, to transplant them to the remotest corner of the Marais? Franval, an old and familiar friend of Simon's family, soon settled the point. "I know not," said he, "whether the fine talkers of the present day are what they when they did not require much pressing used to be, but I have known the time to descend from the summit of Parnassus, or the sublime regions of philosophy, to sit down to a good table. Try my expedient, |