some recommending friend, they have not resolution to pronounce at once these decisive words, This will not do; but lead him on with false hopes, till the final rejection seems rather the effect of theatrical cabal than merited disapprobation.

The Invisible Girl. A Piece in One A&. Drury-lane. Written by Theodore wins.

As performed at the Theatre-royal Edward Hook. Pr. 37. Bald

Tekeli: or the Siege of Montgatz. A Melo-drame in Three Acts. Same Author and Publisher, and performed at the same Theatre. PP. 47. 1806.

AS the foregoing piece is a proof of the just rejection of the managers, these are specimens of what trash the managers will receive, and the public applaud; though, indeed, the latter circumstance may fairly be taken as an exculpation of the managers. The first of these pieces is what may be called a mono-drame; Mr. Bannister, in the character of Captain All-clack, being the sole speaker. Why another gentleman, who does not speak at all, should be called Sir Christopher Chatter, is not easily explained. Mr. Hook seems very anxious, in an advertisement prefixed to the piece, to defend himself from the charge of being a translator from the French; though he allows that the idea of this piece was taken from one of the same kind performed on the French stage. Whatever merit there may be in it, Mr. Hook's worst enemy need not scruple to impute entirely to himself.

Of the melo-drame we shall only say, that if music, fighting, and scenery, can entitle such a piece to be performed-with distinguished success, it is lost labour for any writer to endeavour to introduce interest or incident into any drama, provided the manager will supply the other re quisites. The only part that possesses any thing like interest, is the beginning of the third act, which is obviously copied from a late piece, called the English Fleet.

Edgar: or Caledonian Feuls. A Tragedy, performed at the Theatre-royal Covent-garden. By George Manners, Esq. PP. 92. Tipper and Richards. 1806.

THIS tragedy was first produced at a benefit, but was afterwards represented several times, and always with applause; which shews, that good writing, affecting situations, and probable incident, will meet with approbation from a British audience, without the aid of shew and buf foonery. The managers, however, have not chosen to continue the representation; conscious, perhaps, that if they once permit the power of pathos and sentiment to prevail over those of the tailor, the fiddler, and the scene-shifter, dramatic writers may begin to think themselves of some consequence, and no longer submit to act in the same capacity to the manager that the ballad-writer does to the composer, who merely suits his verse to the measure of the music, mindful of the common question, What signify the words of a song?"

MISCEL

MISCELLANIES.

Lambeth Palace, illustrated by a Series of Views, representing its most interest ing Antiquities in Buildings, Portraits, Stained Glass, &c. Ec. With a concise Account, Historical and Descriptive, of that Ancient Place. By Messrs. Brayley and Herbert. With Twenty Plates, Coloured and Gilt. Large 4to. 21. 12s. 6d. ; and Folio 31. 35. Carpenter.

IT is somewhat singular, that the antiquities of this ancient and very curious Palace, should not have been long since illustrated by wellexecuted designs; while its exterior has been a favourite subject of draughtsmen and engravers for many years, its interior and antique curiosities, although among the first in variety and interest in the country, have not been honoured by the pencil, or the graver, before the present publication. Perhaps, indeed, the arduousness of the task may have intimidated artists from previously undertaking it; but, if the delay has been great, the success is proportionate, and we can justly assert, that it is now illustrated in a style of elegance and accuracy, not equalled in this, or in any other country. The letter-press is designed only as a brief eluci dation of the subjects of the drawings, and is such as will be acceptable to most readers. The following are the introductory sentences.

"The name of Lambeth is Saxon, and variously written, as Lamb. byde, Lambhythe, Lambyte, Lamyte, or Lambithe. It is also called in ancient writings, Lambee, Lameth, Lambei, Lambed, and Lambethe, which, according to Camden, signifies Portus sive navium statio lutea, viz. a dirty station. It appears to have been a manor in very early times, probably a royal one: for the Saxon Kings had a mansion here (it is supposed in that part of the parish now called Kennington), where they occasionally dwelt; and ancient historians inform us, that here the great Hardicanute died in 1042, amidst the jollity of a wedding-dinner, held at the marriage of Toni, or Tuvi Prudan, a noble Dane, with Gytha, the daughter of Osgod Clapa. The King's sudden death at this banquet has been attributed to poison; but the more general opinion is that he died of intemperance; and that the festival called Hog's Tide, or Hack Wednesday, was kept for centuries afterwards in commemoration of this event, and of the consequent delivery of the kingdom from the Danish yoke."

The principal architectural subjects of the plates are elevations of the Palace, the library, guard room, presence chamber, dining room, old drawing room, gallery, vestry, chapel, Lollard's tower and prison, with curious fac-similes of the writings on the walls; cloisters, crypt beneath the chapel, stewards' parlour, servants' hall, great hall, entrance, gateway, &c. &c. The portraits are, Cardinal Pole, Archbishop Arundel, Archbishop Chicheley (two), and Queen Catharine Parr, besides several finely coloured specimens of stained glass.

The history of the origin and present state of the Library, founded by Archbishop Bancroft, and left in perpetuity to the See of Canterbury, is particularly interesting; it is estimated to contain upwards of 25,000 volumes, and supposed to be worth 2500l. a sum unquestionably very far beneath its now mercantile value.

But

But that which renders this work unique, is the successful essay to restore the almost lost art of colouring and gilding, as seen in the illumined manuscripts of the 13th and 14th centuries. The portraits of Cardinal Pole, Archbishops Arundel and Chicheley, and of Queen Catharine Parr (whose elevated and amiable countenance excites a multitude of reflections), dressed in the costume of her age, exhibit all that delicacy and brilliancy of colour enlivened by burnished gold, such as ornamented the chapters of almost all writings before the invention of printing, and which still astonish and delight every class of readers. The vivid shading and lively tints of the stained glass, are also happily imitated; and we doubt not but that the great success of this attempt, will stimulate others to perpetuate, in like manner, many other historical memorials of the perishable works of art and ingenuity of our ancestors. Upon the whole, we have no hesitation in saying, that this work is one of the most curious, the cheapest, and beyond comparison the most elegant of any publication that has appeared in our times.-To the Editors, who have shewn both their taste and talents in the admirable execution of this work, the public are deeply indebted for this truly original and elegant illustration of the "ancient and venerable Palace of Lambeth," the worthy residence of the English Primates.

A Walk through Leeds: or, Stranger's Guide to every Thing worth Notice in that Ancient and populous Town; with an Acount of the Woollen Ma12mo. Crosby. 1806. nufacture of the West Riding of Yorkshire.

AN useful Vade-Mecum for the inquisitive traveller, and not an unacceptable present even to the grave antiquarian.

Colonel Thornton's Transactions and Negotiations with Robert Christie Bur8vo. Pr. 144. ton, Esq. legally, morally, and liberally considered. 2s. 6d. Goddard. 1836.

IF a man think himself ill-treated, in a matter of a nature however private, he certainly has the right, if he chuse to exercise it, of making an appeal, through the medium of the press, to the public; and whenever such appeal is made, the public, or any one of that aggregate of individuals which constitutes the public, has as undoubted a right to make such comBut, in other ments on the appeal, as to him may seem just and proper. cases, the exercise of the right is a matter of discretion; and, in respect of the duty of Critics, on such occasions, it appears to us, that a line ought to be drawn between cases strictly private, involving nothing but what relates personally to the parties, and cases which, though apparently of a private nature, involve questions, or consequences, of public im portance. The tract before us is one of the former description; it relates to a dispute about a sale of wine, pictures, and animals; and, what it is an insult to the public to write about-a mistress.

History

History and Antiquities of Stratford-upon-Avon; comprising a Description a the Collegiate Church, the Life of Shakspeare, and the Copies of severa Documents relative to him and his Family never before printed; with a Biographical Sketch of other eminent Characters, Natives of, or who bam resided in Stratford. To which is added, a particular Account of the Jubilee, celebrated at Stratford in Honour of our immortal Bard. bellished with Eight Engravings. Svo. Longman. 1806.

Em

THERE are certain admirers of our great dramatic Bard so enthu. siastic as to extend their admiration to every object, animate or inanimate, in or near the place of his residence. We even doubt whether, if the bones of the deer, which he has been accused of having appropriated to his own use, with a poetical disregard of the vulgar laws of meum and tuum, had survived the wrecks of time, they would not have found an historian ready to record their virtues, and connoisseurs prepared to give to such invaluable relics a distinguished place in their collections. We profess not to understand the principles of derivative consequence as so ap, plied, and so acted upon. As to Mr. Wheler, he certainly possesses few of the qualifications of a biographer, and still fewer of those of an his

torian.

The French Anas. 12mo. 3 vols. 155. Phillips. 1805

THIS selection from the French Anas, which extend to several volumes, is made with judgment; and the Editor has succeeded in producing a work both of interest and amusement.

REVIEWERS. REVIEWED.

STEUART'S SALLUST, AND THE ECLECTIC REVIEW.

A CRITIC that is candid will at all times be ready to confess his mistakes, though such a confession may be made with uneasiness; and to candour we have uniformly laid claim. The reader will not, therefore, be surprised that we sat down with some degree of eagerness and anxiety to read the Eclectic Review of Dr. Steuart's translation of Sallust, upon being informed by a friend, that, in almost every instance, it is directly contrary to the account of that splendid work which is given in the AntiJacobin Review. Our anxiety and eagerness were, indeed, soon dissipated; for we had not read two pages of the Eclectic, when we perceived incontrovertible evidence that the Reviewer must have written under the influence of some passion very different from the love of literature, or the love of truth. To differ in our report from the report of such a writer, is matter of pride and pleasure to us; but it may not be inexpedient to

shew,

t, by some instances of his mistakes and perverseness, that our exulon is well founded.

We pass over his ridiculous observation (vol. ii. p. 485) that Sallust s been "man-millinered by Dr. Steuart; for on what we do not un derstand we can make no remarks. The controversy, however, which, in the same page, he wishes to excite concerning the proper title of what Dr. Steuart calls the Two Epistles to Cesar, must not be suffered to pass without censure, because it is a proof that the Critic has reviewed what he has never read. The translator has proved (p. 483, vol. i.), that the author himself calls these discourses Letters, after which it is surely of no importance what they have been called by Ascensius, or any other editor. Does Ascensius, or the Eclectic Reviewer, know better than Sallust himself what kind of discourse Sallust addressed to Cæsar ?

In his Preface (p. 7), Dr. Steuart says, "To the real scholar, I pretend not to furnish much that is new, by either the notes or the Essays But he whose taste has been formed on the great models of antiquity, will treat with candour any attempt to throw light on the history, whether literary or political, of the most splendid age of Roman grandeur and learning, and to give a critical account of one of the greatest ornaments of that age."

If this remark be just, as we think it is, the taste of the Eclectic Re. viewer has not been formed on the great models of antiquity; for so little candour has he, that he represents (p. 486) Dr. Steuart as saying in this place, that "he whose taste has been formed on the great models of antiquity, may be trusted for candour by implication!"

The Critic makes some senseless, though petulant, remarks on the head of Sallust which fronts the title-page, not knowing, perhaps, that the same head had been engraved for similar purposes by others, and among them (if our memory does not deceive us) by Havercamp; but the gentleman could not let slip so fine an opportunity of shewing how great progress he had made in the science of Lavater!"It is self-evident that this head is the effigy of libidinous violence, and merciless rapacity; a mixture of penetration most acute, and of contemplation most corrupt, exactly as Le Clerc and others have described him!" After this demonstration, what can be said in extenuation of Dr. Steuart's profane attempt. to prove, that Sallust was not a profligate so thoroughly abandoned as Le Clerc and his followers have represented him? Is the cause hopeless ? Not quite; for enough has been said, and more than enough, to vindicate Dr. Steuart's attempt, or at least to overturn this demonstration of its futility, by our judicious and consistent Critic himself! The head, gentle reader, which is the effigy of libidinous violence, &c. is not the head of Sallust! It is no doubt a copy taken from the Farnese bust; but that bust had no name on it, and the putting of a name on the copy is a kind of forgery!!

Is our Reviewer ignorant that Mr. Murphy was dead before the publication of Steuart's Sallust? or is it his opinion that the shades of departed authors are so delighted with compliments paid to them on this earth, that they return reciprocal compliments from the regions of the dead? It is a fact, that Dr. Steuart praises no prose translators but Murphy and Melmoth; and therefore it can be only from them that our Reviewer concludes that" reciprocal praises might be acceptable!!"!

Dr.