Livorno, 1813. Dizionario Militare Italiano di Grassi, 2 vols. 8vo. Torino, 1817. Vocabolario di Marina, di Stratico, 3 vols. 4to. Milan, 1813. Dizionario delle Belle Arti del Disegno, 2 vols. 8vo. Bassano, 1797. Dizionario do Veterinaria di Bonsi, 5 vols. 1794. Dizionario Etimologico di tutti i Vocaboli usati nelle Scienze, Arti, e Mestiere, che traggono origine dal Greco, compilato da Bonavilla, e continuato dal Professore Marchi, 3 vols. 8vo. Milano, 1820. Dizionario Etimologico Scientifico, 3 vols. 16mo. Verona, 1820 (the first volume contains the words used in metaphysics, jurisprudence, and literature; the second, those belonging to the natural sciences, mathematics, and geography; the third, the historical and mythological words). Also a Dictionary of Medical and Surgical Words by Pasta, Brescia, 1769, and Verona, 1806, and the Rimario or Dictionary of Rhymes, by Rosasco, 4to. Padova, 1763.

The great affinity between the Italian and Latin languages, especially in all that concerns etymology, the derivative words, verbal nouns, the inflexions, &c., renders the grammars and dictionaries common to both of great service to the student. Soave's Grammatica delle due Lingue Italiana e Latina, Milano, 1820, which has been adopted by the gymnasia of Lombardy, can be justly recommended.* From Soave's Grammar the Abate Bianchi has made a smaller one only for Italians, called Grammatica ragionata della Lingua Italiana, Brescia, 1829, with many additions. We have found more sound remarks in this two shilling little book, es

* We cannot say as much of Soave's Novelle,-a book we have seen used in this country, the style of which is far from correct. We should always advise reading the old writers in preference.

pecially concerning the derivatives, the prefixes, and affixes, and the government of nouns and verbs, than in most of the other Italian grammars put together.

We will transcribe here, as a philological curiosity, illustrative of the great etymological affinity between Italian and Latin, the following lines, quoted by Gamba, and addressed to Venice by a citizen of that republic before its fall, and which read equally in both languages. It is of course a constrained composition, and serves merely to show the possibility of the thing :—

Te saluto, alma Dea, Dea generosa,
O gloria nostra, o Veneta Regina !
In procelloso turbine funesto
Tu regnasti secura; mille membra
Intrepida prostrasti in pugna acerba.
Per te miser non fui, per te non gemo;
Vivo in pace per te. Regna, o beata,
Regna in prospera sorte, in alta pompa,
In augusto splendore, in aurea sede.
Tu serena, tu placida, tu pia,

Tu benigna; tu salva, ama, conserva.

There is also the following well-known invocation to the Virgin Mary, the lines of which, besides the words being in both languages, retain the poetical measure in both:

In mare irato, in subita procella,
Invoco te, nostra benigna Stella.

The English scholar will find out in studying Italian, that the syntax of the latter approaches that of the English more than the French does, and that many Italian works can be better translated into English than into French, and vice versa, from the English into Italian. Professor Rossetti, of the King's College, justly observes, that between the French and the Italian there is a mere etymological affinity; while between the Italian and the English there is the more important analogy, that of

construction; and that while the French student can easily understand the meaning of most Italian words, the English will, with greater facility, seize the meaning of Italian sentences and periods. There is also a greater sympathy between the literature of the two latter countries; both have distinct languages for prose and for poetry; the same roundness of periods prevails in both; both are capable of a great variety of phraseology, and the English comes much nearer to the Italian than the French in its susceptibility of inversion. We would therefore advise English pupils to study Italian by means of their own language in preference to adopting the medium of the French, which, in many cases, will prove to them a hinderance rather than a help.

Ο

374

ON LEARNING SINGING.

BY MR. BARWELL.

(From the Quarterly Journal of Education, No. XVIII.)

SINGING is an acquirement which perhaps gives more general pleasure than any other accomplishment, since it affords gratification even to those who are ignorant of the art, and does not, like instrumental music, require a practical audience in order to be appreciated, nor, like painting, a particular education in order to perceive its beauties. The love of sweet sounds seems a part of our nature; and these, when connected with poetry, address themselves to the understanding and to the sensibility, as well as to the ear.

Music, and vocal music especially, forms a valuable addition to domestic enjoyments, and as a female accomplishment deserves cultivation upon this ground, as well as upon the principle that women should possess as many rational resources as possible both for their own happiness and that of those who look to them for solace and amusement. While we urge the expediency, and in some sort the necessity, of acquiring the art of singing, we must allow, that it already often engrosses a large portion of female education, to the exclusion of many more important attainments; and we regret to add, that, after much application of time and labour, the result is frequently either entire failure, or at least partial disappointment--for which we account in the following

manner.

Singing is properly regarded as a part of female edu

cation; yet the necessary organic formation is not generally considered in the outset, neither is the end proposed precisely ascertained, nor the best means of attaining it determined. Parents wish their children to be musicians, and yet it often happens that they are themselves entirely ignorant of the real meaning of the term, and unable to decide what constitutes excellence in the art, or how that excellence may be obtained. On the other hand, many persons of uncultivated ears and indifferent education imagine that singing is a gift of nature, and requires no training; but this is a mistake. In the art of speaking, defects are to be overcome, and particular kinds of excellence acquired by a proper training: so is it with singing; both arts alike require discipline.

It has been often said, that nothing is worth learning that is not worth learning well. This maxim applies to music equally with other things; and for this reason we would endeavour to show how an acquirement which contributes so largely to individual and general happiness may be best attained, and with the least expenditure of time. We shall here confine ourselves to singing, the highest branch of the art, which more completely calls into exercise the sensibilities of the performer than any other branch of music. We do not propose to treat of professional education, and we are also speaking of female instruction only, though most of our remarks are generally applicable.

We presume that the pupil has some knowledge of music; that she plays the piano-forte as well as is usually judged necessary to accompany herself, and understands musical terms. It is first necessary to ascertain whether the voice and the ear promise any results, and when parents are not themselves qualified to