We are also of opinion that the successful employment of Mosaic for interior decoration might have led to the invention of painting on glass. Mosaic, it is well known, is composed of little pieces of coloured or enamelled glass: in like manner, the oldest painted windows are nothing more than small portions of coloured glass soldered one to the other in leaden moulded grooves, by which they are held together so as to be placed in a sash of iron, or of any other material; making a kind of picture, like inlaid stones or glass-ware united by mastic or any other cement, and producing the representation which is called Mosaic. We are inclined also to believe that, in the infancy of the art of painting on glass, the artist began with tracing figures in distemper, or with colours diluted in yolk of egg or varnish, on clear glass, before the idea was formed of colouring glass in the fire in order to render the picture more perfect and more durable.

Before we farther attend to glass-painting, we shall offer a few words on the art of making Mosaic, which we consider as much more antient than that of painting on glass.

Mosaic, regarded as a kind of decoration, took its birth in the train of the imitative arts, and from its origin was employed by architects in public monuments, sometimes on walls and sometimes on pavements. It is to be wished that our intelligent architects, in imitation of the antients, would combine with their skilful elevations this interest. ing art, which is capable of producing the most noble effect.

Previously to having reached the perfection of Mosaic, artists commenced by inserting in walls and pavements flint, silex, pieces of coloured glass, enamel, or marble: by degrees, they reduced these into small divisions; and this art, prosecuted with care, obtained so much favour among the Greeks, that the most celebrated artists were employed on it, and produced in it most magnificent pictures, of which history makes mention. Pliny speaks of one Sosus who worked at Pergamus, and who excelled in the art of fabricating Mosaic. In 1763 were discovered at Pompeii several Mosaics from the hand of Dioscorides, if we may judge by the inscriptions which they exhibit.

The French also worked in Mosaic: but, as they had no knowlege of the rules of art, they produced only rude figures.-The practice of Mosaic continued in spite of the ignorance which prevailed in the arts of design, and it was cultivated at Rome about the fourteenth century, and at Florence a century later. A president of the parliament of Paris, named David, being in that city, caused to be executed under his own eye, and at his expence, a Mosaic, bearing the date of 1500, which represents the Virgin sitting with the infant Jesus on her knees, accompanied by two angels in the act of adoration.

• Towards the end of the last century, the taste for Mosaic came again into fashion at Rome, and the latter Popes incurred considerable expence to support and encourage able workers in Mosaic, whose talents they were jealous of exclusively possessing. They caused to be thus copied, of the same size as the originals, the most beautiful pictures which Raphaël had painted for the decoration of the Vatican; and these fine monuments, capable of resisting the ravages of time, embellish the church of St. Peter.

At

At last the French government, wishing to rival Italy in this species of the pictorial art, established at Paris (some years ago) a school of Mosaic for the deaf and dumb. The direction of this little philanthropic academy is confided to M. Belloni; and already these unfortunate children, who are instructed with equal zeal and care, execute Mosaics which may be put in competition with the best of those of Italy.'

The subject of Glass-making and the knowlege and application of this material are discussed in a subsequent part of this work, to which we must refer the antiquary.

M. LENOIR appears to have paid much attention to the various fashions which, in different ages, have prevailed in France: but, however necessary these details may be in illustrating the antiquities of that empire, we should fatigue our readers by following him through this portion of his history. It is unnecessary also for us to quote his account of Tournaments, or to transcribe a long list of the Constables of France, which can excite no interest on this side of the water; and as to his concluding section, on the yellow, blue, and red colours with which he tells us the antient churches were decorated, he has offered nothing worthy of notice.

This description of the Monuments is perhaps the most ample and correct of any hitherto published, and the volume of plates will assist those who cannot visit Paris in understanding the explanation. We must not close this imperfect sketch of M. LENOIR's exhibition without applauding his talents, industry, and taste; and hoping that he will be patronized by Louis the Eighteenth.

ART. XII. Dictionnaire Français Espagnol, et Espagnol Français, &c.; i. e. A French and Spanish and Spanish and French Dictionary more complete and correct than any that has yet appeared, including that of Capmany. By NUNEZ DE TABOADA. 2 large Vols. 8vo. Paris. 1812. Imported by De Boffe.

T

Price 21. 8s.

HIS work is founded on a dictionary compiled and published by Señor Capmany: but the present editor has enlarged the vocabulary by the insertion of geographical names, and of some of the most usual of the terms introduced by the French Revolution, the whole of which were rejected by Capmany as mere ephemeral jargon. We are told that Señor NUNEZ applied himself during six years exclusively to this object; and the performance appears to have fully repaid the labour bestowed on it, since it is not only the best dictionary of the two languages which we have seen, but, for comprehensiveness, conciseness, perspicuity, and correctness, may be proposed as a model for undertakings of a similar nature.

ART.

us.

ART. XIII. Nouvelles Recherches, &c.; i. e. New Researches concerning the Origin and Design of the Pyramids of Egypt: a Work in which the Author endeavours to demonstrate that these wonderful Productions contain not only the Elementary Principles of the Abstract and Occult Sciences, but also those of the Arts which are useful to Society. Followed by a Dissertation on the End of the Terrestrial Globe.. By A. P. J. Dɛ V—, 8vo. Pp. 151. Paris. 1812. Imported by De Boffe. Price 58. Tomer folks who can be amused with nonsense, foolish To make sport for the Philistines, that is for critics and writers will sometimes, in our own island, publish very foolish books; and our neighbours, who are never behind in the career of folly, afford us similar sport by sending forth, from time to time, works as truly ridiculous as any that are to be found in the English language. It would be difficult perhaps to meet with a volume, either in Great Britain or on the Continent, which abounds with more sublimed absurdity - now before than the two dissertations of A P. J. DE VIn the first, this man of many letters, but little sense, labours to shew that the Pyramids of Egypt were built by the Nephilim or Giants who existed before the flood, and that each of these pyramids may be considered as an isolated Lyceum for the study and preservation of some particular science. In the second, he boldly undertakes to develope the intentions of Providence respecting the whole planetary system; to inform us that this earth and the other planets are destined to be renovated at certain periods by universal conflagrations and deluges; and that, as the present surface of our globe was designed to last only 6000 years, the indispensable catastrophe of an universal conflagration will take place in the year 1999, when the present race will be entirely swept away. To prove both of these very curious positions, the author is extremely liberal in his quotations of the Holy Scriptures: but he appears to have read them with his eyes, and to have understood them with his elbows, as the boys say at school. As a proof of his extreme ignorance, he cites passages from the Septuagint-version of the New Testament; and he often quotes texts from the Old Testament which bear not the least relation to his subject. Moses is introduced, on all occasions, in the dissertation respecting the Pyramids: but, as this native of Egpyt makes no mention whatever of the Pyramids, nor is ever found to allude to them, his silence is a negative proof that these stupendous monuments did not exist in his time. - Never was absurdity carried to a greater excess.

FOREIGN

FOREIGN CATALOGUE.

12mo.

NOVELS.

Art. 14. La Baronne de Merville, &c.; i. e. The Baroness de Merville, or the Errors of Love. By CH. HYPP. PERRIN. 4 Vols. Paris. 1813. London, De Boffe. Price 11. In the introduction to these letters, the author pretends to wish that they had displayed more virtue;' and this is the only point on which we agree with him, since we are far from deeming these compositions either lively or agreeable.' On the contrary, we think that many of them are pert and inelegant; while the tendency of the whole collection is grossly immoral, and many passages are too indelicate to be tolerated in an English translation.

Art. 15. Ambrosina, &c.; i. e. Ambrosina. By J. B. CARPENTIER. 12mo. 2 Vols. Paris. 1813. London, De Boffe. Price 98.

The character of D'Almaville, who goes about redressing wrongs committed by his father, and thus effects that parent's reformation, is here well imagined: but M. des Rieux should have been described as possessing some good quality for a basis on which his son's merit could work, whereas he is shewn to be so completely vile that the reader expects to see him punished, and is surprized rather than pleased by his amendment.

Some scenes of villainy are also detailed too largely, and little effect is given to the female characters, or to the more pleasing parts of the story; which, however, seems intended to be moral, and at least cannot be mischievous.

Art. 16. Eudoxie, &c.; i. e. Eudocia, or the Generous Friend. BY HENRY VN. 12mo. 3 Vols. Paris. 1813. Imported by De Boffe. Price 98.

Some interesting scenes and pleasing reflections are supplied in this novel. The character of Eudocia affords an example of principle triumphing over attachment: but it can scarcely be said to furnish a case of eminent generosity, since Eudocia does not resign her lover from a desire of securing his happiness, nor from friendship towards the faulty Alphonsine.

We must add that, in this tale, the line which separates virtue from vice is not sufficiently marked; since the errors of Montigny, which are dangerous and dishonourable, pass without due reprehension, while his atonement for them is exalted into an act of heroism. On the other hand, Eudocia's notions of filial piety occasion a romantic sacrifice which neither duty nor common sense would recommend.

Art. 17. L'Enfant de ma Femme, &c.; i. c. The Child of my Wife. By M. CH. PAUL DEKOCK. 12mo. 2 Vols. Paris. 1813.

London, De Boffe. Price 9s. sewed.

This story has neither moral nor merit; and it contains so many indecorous descriptions and allusions, that our duty requires us to warn all readers against the perusal of it.

To the REMARKABLE PASSAGES in this Volume.

N. B. To find any particular Book, or Pamphlet, see the
Table of Contents, prefixed to the Volume.