1829.] REVIEW. Kinsey's Portugal illustrated. suffer the moisture to pervade their substance in the form of a fine dew, which is continually evaporating and producing cold." P. 406. This fictile composition deserves the attention of our potters. The Portuguese bee-hives are in general of a cylindrical form, made out of the rind of a cork tree, and are usually covered with a flat piece of cork, or with a pan of earthen ware inverted, the edge of which projects over the hive, like a penthouse. (459.) Beehives of cork are Roman. (See Ency. of Antiq. i. 61.) 437 are divided into terçoes; the first five are called the joyful mysteries; the second five, the dolorous; and the last, the glorious mysteries." P. 469. Sweetmeats form the great luxury, and to the habit of eating these, "as provocatives to drink, deep draughts of water, which blow the body out, Costigan ascribes the little, fat, pursy misshapen persons of the nobility." P. 488. Our author has described and en The compartinents of the Rosary are thus given : "The complete Rosary consists of fifteen paternosters, and one hundred and fifty ave-marias, ten of the last to each of the first; so that the whole rosary contains fifteen parts or mysteries concerning the Son and the Virgin Mary. The "terco" is a third part of the rosary. The mysteries graved (p. 514) a cromleh near Avrayolos; and between Pegoës and Vendas Novas, Hautefort saw a stone circle of twelve enormous blocks erect, and a thirteenth in the middle (p.501), a most decisive proof that this circle was intended to represent ent the twelve months, or signs of the zodiac, with the Sun in the centre. At Leiria, which sprang from the ancient town of Callipo, Mr. Kinsey saw a curious arch of an old chapel, of which this is an engraving: 438 REVIEW. Cambrian Quarterly Magazine. which, upon a first hasty view from a distance, would appear to resemble the western Saxon door of Ifley Church near Oxford, and many others of that æra, and of a later date. But upon a nearer inspection, this circular arch at Leira, reputed Moorish, would seem to be nothing more than a variety of the same description of Gothic arch. "1. The outward mouldings which run round the receding arches, are decorated with a wreath of flowers, evidently of an oriental character. 2. The terminations on either side are supported by columns, ornamented with heads looking upwards. 3. The number of receding arches is six, and the circular lines intervening are alternately charged with rosettes and rows of heads in half relief; these heads are represented as leaning forward on one of the hands, while the other grasps the arch beneath. 4. Instead of the beaks and tongues observable on the Saxon arches of Ifley Church near Oxford, and at St. Peter's in the East, Ox ford, these heads on hands" distinguish the Leiria arch. 5. Above this circular arch again are represented, in demi-relievo, grotesque human figures of different shapes, with heads of oxen and sheep projecting. 6. and lastly, the arch of this western entrance is supported at either termination of its bend by five columns; those on the right side are much defaced and injured by time or weather. The capitals of these columns represent flowers of an oriental character, intermixed with non-descript birds and grotesquely shaped animals. These severally distinct and characteristic portions are interlaced with each other, and combining correctly, give a peculiar interest to the whole." pp. 425, 426. We are truly sorry to be necessitated, by the very abundance itself of curious and instructive information contained in this amusing book, to do it great injustice. Such exhibitions of scraps as we have given, remind us of mere chippings of the Pyramids or Pompey's Pillar, which gallant officers bring home, as if parings of a beautiful female's nails could give us any idea of her person. The line engravings are beautifully executed by Mr. Joseph Skelton and Mr. W. B. Cooke. Thirty-six costumes are taken from models made for the author in Portugal. An excellent map of Portugal, engraved by Arrowsmith, is also given: and the vignette engravings on wood, by Messrs. Willis, Brooke, and Hervey, add much to the interest of this luminous and entertaining work. [May, The Cambrian Quarterly Magazine, IT has often been matter of regret to us, that our Cambrian neighbours have not, with the enlarged views with which literature is promoted in other parts of this island, indulged the uninitiated in their language with the hidden stores it contains that, setting aside those contracted notions that require implicit belief in all their traditions, in all their wild conjectures, they should not treat the affairs of Wales with more liberal discussionthat that self-sufficient conceit (the result of being penitus toto divisos orl orbe, which has made them hold in contempt, and stigmatize as officious, any unfortunate Sais who has presumed to offer a dissentient opinion, actuated by the spirit of their maxim "the truth against the world,") should not yield to better feelings. With Chinese pretensions to antiquity, there were many in the last century, though we trust very few at the present time, who would have us believe that every thing should be traced to a Welsh origin; that customs as well as languages have Celtic roots, and backed by a compliant etymology, Cymry must be acknowledged in all respects as "the well-spring of true nobility." That it should be gravely asserted by persons of great good sense on other subjects, that, at, for instance, David Rizzio was a Welshman, and his real name Davydd Rhys, is as extraordinary an instance of infatuation, as that an Irishman should believe Dionysius Halicarnassus to be a native of the land of potatoes, and his true patronymic Dennis O'Callaghan. Yet this is absolutely so, and in its support we are told that his father was Sion Davydd Rhys, who wrote the Welsh grammar, because having gone to Italy, they say he there became a professor, modestly (we suppose) undertaking to teach the people their own language. That he went to Italy we allow, because having selected the medical profession, he travelled, as was the fashion in Elizabeth's days, for what was considered the best instruction; and unfortunately for the composition of this improbable story, the invariable genealogical practice of Wales has been entirely overlooked, as Sion Davydd Rhys would eo more imply John the son of REVIEW. Haggitt's Sermons. 1829.] Davydd Rhys. Here too is another fact, Rizzio was inurdered in 1566; while the first time that the Cambrian made himself known was in 1580. It is surprising that persons afflicted with these mental hallucinations have not asserted that Mr. Telford is a Welshman, and that his constructing the bridge of the Menai is a proof of the fact-or else, that his true name is Taly-fordd, " the end of the road," which was given prophetically in allusion to that astonishing work, which completes the great and unrivalled highway he had formed through North Wales. Risum teneatis, gentle reader, we have not hazarded so improbable a conjecture; for Inigo Jones, whose birth and baptism stand recorded in the register of St. Bartholomew, Smithfield, has been pronounced, ex cathedrâ, a Welshman, and his real name Ynyr Sions*. A new æra, we rejoice to say, has commenced, and a Magazine undertaken by writers of great talent has appeared, under the title of the Cambrian Quarterly. The melange is great in its variety, and judicious in its selection. We We have translatio translations from the Welsh poets, statistical information, geological researches, antient mythologic tales, legends, fragments of local history, provincial news, and a review of Celtic literature. These are again enlivened with poetry and music, with descriptive excursions in the land of the Cymry, and with original biographical sketches. We heartily wish success to a periodical production undertaken with such zeal, and prosecuted with such ability. Sermons by the Rev. John Haggitt, Rector of Ditton near Cambridge. 8vo, pp. 296. SO many discourses, uttered even in town pulpits, have neither sense nor meaning, that we fear reason will be soon found only in country churches, of which the ministers are Divines of the old school. Were the modern Sermons alluded to, beautiful specimens of impassioned eloquence (the French * It would seem that "the Armoricans would show their affinity by advancing similar absurdities. The word barbare, is from bara, bara, bread, bread, the Gauls under Brennus thus daily exclaiming!!!" If this induced the Romans to call other nations barbarians, what made the Greeks term even the Romans βαρβαροι ? 439 taste in Sermons), pleasure would at least be conferred; and if, in the late English fashion, only dry ratiocination was used, instruction would make some amends for tædium; but if, according to the opinion of Blair, persuasion and utility ought to be united in this kind of composition, what can we say of mere vapid declamation, which is absolutely the characteristic of numerous Sermons of the modern construction. They have often not a tangible idea; they resemble a gown and cassock not worn by a living Divine, but by a wooden stand in a shop for sale-we know that they are parts of the ecclesiastical costume, and that is all. A solemn monotonous jargon, interlarded with quotation, is the only thing studied; but a Sermon that does not make an impression, is food that does not allay hunger, or drink that does not assuage thirst. There are, indeed, other Sermons which please certain low hearers. These in real truth are no other than bombast spoiled, i. e. divested of all silliness— mere strings of ejaculations, "the dear dear Jesus," and phrases of familiarity, which both degrade and profane the object of worship. Such are the consequences, says an ingenious writer, of that vitiated taste as to preaching, which disinclines the public mind to the salutary and useful. A preacher however is a tutor, and his congregation a miscellaneous collection of school-boys, with this difference, that bad ones do and can play the truant with impunity, until they are confined to a worse school, from whence they cannot escape. It is the duty of the Clerical tutor to diminish the number of these as much as possible; and, as there is no agent of human success but prudence, no permanent impressions but those of reason, that noble distinction of man is to be united with piety, because it is the most complete mode of edificationthe godliness" which has the promise of the life that now is, as well of that which is to come," can only result from such a union. Mr. Haggitt's Sermons are of the latter description. They are solid, not specious; for meretricious aids show that the preacher is more desirous of showing off himself as an actor for applause, than of ameliorating the principles of his audience. Not that Mr. Haggitt is deficient in ability to 440 REVIEW. Life and Works of Titian. make such a display (as may be seen by his eloquent Sermon on the death of the Princess Charlotte, Serm. x.), but his taste and conscientiousness are superior to it. He deems the solemnity of the pulpit to be of higher character, and thinks that its oratory is by no means honoured by incongruous embellishment, and selfish motive. Mr. Haggitt, too, is a sound logician. We need only give his remarks concerning Calvinists and Puritans: "If a large portion of mankind, as their system supposes, are born for no other purpose than to experience the wrath and indignation of their Maker, how is it that they are sent into so fair a prison-house as that of this world? how is it that they are sent to partake of so many of God's blessings, when they are already condemned to eternal misery hereafter? Is it that the display of the beneficence of God, which they witness in this world, may render still more intolerable to them the everlasting sufferings to which they are doomed? God forbid that we should so think of our heavenly Father, who, far from desiring that any should perish, desires that all should obtain everlasting life." "Other views there are, less painfully shocking, yet still far removed from that which Scripture points out. Many, and some even good men, would persuade us that there is no way of meriting heaven but by a persevering refusal to partake in any of the enjoyments of this life; and this opinion they ground on certain passages of Scripture, which have plainly the abuse of this world in view, and not its permissible and intended use. What God freely gave, man may without blame enjoy, under the controul of reason and of conscience, which was at the same time given to regulate his choice, and to warn him aga against excess." Pp. 33, 34. Such is the folly of deeming it necessary to make earth a hell, in order to gain heaven. Speaking of low, vulgar modes of expression in the pulpit, and the use of Scripture with colloquial freedom, Mr. Haggitt says, "It is the opinion of many that the minister of the Gospel would more effectually promote the edification of his flock, by lowering the style and language of his discourses, than by any attempt to raise the comprehension of the lower orders to the usual standard of instruction, delivered from the pulpit. But we may reasonably doubt whether the decorous gravity, the solemn dignity of our Liturgy, can ever countenance this depression. To be plain and perspicuous must be the wish of every speaker; it [May, is especially the bounden duty of the teacher of religious truths to be so. But far from the Minister of the Gospel be that uncouth familiarity, that vulgar diction, and those alarming freedoms with the most sacred topics, which are too often addressed to the itching ears of deluded ignorance. Let us rather prefer and encourage the slower, but we trust the surer means of early religious instruction." P. 192. Notices of the Life and Works of Titian. THIS is a book we have much desired; and when we heard that Sir Abraham Hume, whose correct taste and intimate knowledge of paintings has increased with age, was engaged upon it, we rejoiced exceedingly. Nor are we disappointed, though the work does not so much abound in anecdote as we had anticipated. It is dedicated to the author's son-in-law, Lord Farnborough, with a very affectionate address, and his lordship, whose knowledge and taste was very frequently evinced previous to his elevation to the peerage, and to comparative retirement from public life, it is most gratifying to learn now devotes a considerable portion of his time to the patronage of the Fine Arts. Titian lived to a wonderful old age, and executed a multitude of pictures. To trace the history or destination of all or the great majority of them, is a task of complete impossibility in the present day, since both Vasari and Ridolfi, in their time, admitted the great impracticability of it. The Notices of his works here before us, are of a very interesting and valuable character, combining criticism, history, and anecdote in a very agreeable and easy manner. They will most materially assist any future historian of the Arts. And here we will just mention the grand and extensive design for a work of this character, conceived by a friend of ours, which we sincerely hope he may meet with sufficient encouragement some day to publish. The object is to classify the artists according to their schools, and, arranging them hem alphabetically, a give biographical notices, and lists of their works, accompanied by anecdotes, critical notices, and a species of pedigree, showing the value of each picture at every change of possessor, and the names of the galleries and collections in which they have successively been from the easel to the present time. 1829.] REVIEW. Coney's It will readily be seen that such an undertaking will be one of great labour and extent; but to the enthusiast there are innumerable flowers prettily and attractively strewed along the path, which will render toil a pleasure. But to return to Titian and Sir Abraham Hume. After the notice of his works in a chronological order; and they embrace his three styles, which were those of his master Bellino, cold and formal; of his friend and envious rival Giorgione; and what may justly be termed his own manner, a softeningdown of the gorgeousness of Giorgione; we then have extracts from the various catalogues of the galleries which have boasted of his works. And we cannot look at the list of those which once graced the splendid gallery of our Charles the First, without reflecting on the barbarous character of that religion, and the inhuman tone of feeling, which could have sanctioned the dispersion of this unrivalled collection; and expressing a desire that the Commissioners of the National Gallery will never neglect an opportunity of bringing them once more as near together as is possible. Some of the best of Titian's, we are proud to find in the hands of Englishmen. The Marquis of Stafford has a rich collection, and the galleries of many of our noblemen, &c. were enriched at the Orleans sale. The extracts from the Catalogues are followed by concise and neat observations on the different manners of the artist, on his colouring and mode of painting, a list of some of his protectors and friends, anecdotes of his scholars, a genealogical table of his family, and a descriptive catalogue of engravings after the works of Titian, from the Bibliothèque du Roi at Paris, 1827. To recommend this work to the attention of the artist, and more particu Of the Home Book, or Young Housekeeper's Assistant, by a Lady, we cannot speak too highly. It is a most useful present for Brides, and the hundreds of pounds which it may save, and the vexations which it may prevent, are results from the study of it, which need not be applauded. Mr. HORACE FOOTE'S Companion to the Theatres, is precisely what it professes to be; containing views of the façades of all the houses, royal and minor, with descriptions of them, essays on the origin and rise of GENT. MAG. May, 1829. Engravings of Ancient Cathedrals, Hotels de Ville, and other Public Buildings of celebrity in France, Holland, Germany, and Italy. Drawn on the spot, and engraved by John Coney, with Illustrative Descriptions by Charles Heathcote Tatham, Esq. and alle assistants. Moon, Boys, and Graves. Elephant Folio. THE First Part of this splendid Work, which is to consist of twelve Portions, contains exterior views of the Cathedrals at Antwerp, Brussels, and Beauvais, and the Hotel de Ville, at Ghent. From the views of the Monastic Remains in England, inserted in the new edition of Dugdale's Monasticon, the rising abilities of Mr. Coney have been long known, and duly appreciated; and now his labours on that important work are drawn to a close, we rejoice to see that he has projected one in which his abilities will have a still wider scope. From the very large size of the Plates (19 inches by 15), the ingenious Artist has been enabled to represent the architecture in a highly satisfactory manner; whilst the numerous and characteristic groups, consisting of religious processions, &c. add greatly to the effect. In the first Plate, the west view of Antwerp Cathedral, the figures are represented in the costume of the seventeenth century. Concise descriptions of each Plate are given in English, French, Italian, and German, by Mr. C. H. Tatham; and most heartily do we wish that the work may be encouraged in the manner it deserves. the Drama; on the early English Theatres, and the origin and introduction of every species of amusement and entertainment produced on the stage. It will form a very interesting introduction to Cumberland's British Theatre; and will, we predict, be in the hands of every play-goer. Mrs. WILLIAMS has published a fourth edition of her highly-recommended Syllabie Spelling, or a Summary Method of teaching Children to read. It is considerably improved, and is ushered into notice by many flattering and deserving testimonials, |