ignorance of the modern principles of representation, that we are not a. little surprised that any author, with the mens sana should think of passing such a reverie off for a practical and adviseable measure. We will not, however, bestow more attention upon this article, having, we conceive, done enough to show the

want of information, and of reasoning powers, in its author. How valuable such an article might have been had it been written upon sound and general principles, and had it been written in a spirit, not of party, but of philanthropy and of truth!

MR. SAUNDERS is Rector of the united parishes of St. Andrew, Wardrobe, and St. Anne, Blackfriars. This gentleman is dignified, and almost graceful in his deportment, especially before he enters the pulpit; but, when arrived there, he very soon bids farewell to grace, in his anxiety to assume the appearance of pas sionate earnestness: by using the word assume I by no means wish to insinuate that he does not feel what he says, I merely intend to assert that he sacrifices elegance at the shrine of energy. If these two qualities were incompatible with each other, of course, Mr. Saunders would be right in selecting the latter as his distinguishing characteristic; but in him they are not necessarily divided. Some preachers, indeed, if they were to bestow the attention requisite to acquire a graceful demeanour, would become artificial and unnatural, but this excellence seems indigenous to Mr. Saunders, and to be divorced from him by determined violence. He is not in the pulpit either tame, monotonous or too vehement, while the composed stillness of his demeanour, in level speaking, harmonizes admirably with what he is delivering; but his constant habit of alternately rising and stooping when animated is in the very worst taste possible; indeed the whole of his action, when he is impassioned, is very generally ungraceful. His voice is rich, melodious, and powerful, even when elevated to its highest key it is full, firm, and never discordant; and the lower tones, when they first break upon the ear, are singularly beautiful; they might however be much better modulated than they are; nature has done more for them than

For

art; in reading, he frequently allows them to sink so low that they are scarcely audible at a distance. In preaching, he is habitually betrayed into a species of sing-song uniformity, a repetition of cadences, that is extremely censurable; this defect is principally discernible when he is delivering those parts of his sermon which demand the manifestation of energetic feeling; on the contrary, when this is not required, he employs the fine lower tones of his voice, which, being well modulated, must always excite admiration in those who hear them. A great fault of this gentleman's reading is, that he permits a general languor to pervade his whole, deportment. what purpose does Mr. Saunders indulge in this, is it for the sake of contrast? Does he imagine that tameness in reading is a foil to set off the charm of animation in preaching? Impossible! There is, I am aware, a wide difference in the degree of energy required in the reading-desk and in the pulpit, but a sufficient portion of this quality is absolutely essential to the perfection of a reader, for its total absence is certain to occasion monotonous insipidity. Two additional defects which distinguish this gentleman's reading are, that his emphasis is not sufficiently pointed, nor his intonations varied; both of these errors he has the power, if he has the inclination, to correct. This gentleman is an extempore speaker, and at the same time a very fluent one; he is never at a loss for a word to express his meaning, while the occasional rapidity of his utterance sufficiently proves the facility with which he embodies his ideas. It would perhaps be unfair to criticis

extemporaneous language with as much severity as that which is precomposed, for it never can possess the same degree of polish and correctness; though, as the preacher is free to choose between the two, he becomes in some ineasure answerable for the faults of whichever style he adopts. Extempore speaking appears perfectly natural to Mr. Saunders, and not the result of study and habit. His general style is plain, flowing and clear; it is unadorned by the rich imaginings of a poetic mind, neither does it exhibit the forceful character, which peculiarly distinguishes the offspring of a vigorous intellect; it is censurable for its general want of elevation, for its diffuseness, and occasional approximation to insipidity. His figures, though seldom remarkable for originality, or new combinations of thought and language, are usually well conceived and executed, but it is not often that he has recourse to these ornaments of composition. Mr. Saunders's sermons discuss at great length the peculiar characteristics of our religion, which he enforces with zeal and earnestness: he is strictly speaking a Christian preacher. For motives to action, for determents to avoid what is evil, for encouragements to practice what is

good, he refers to christianity alone; all collateral aids and subsidiary assistances he studiously rejects. He is not obscure either in his mode of thinking, or in his language; his ideas are distinctly defined to himself, and he has the power of making them intelligible to his hearers; he has likewise the merit of adhering to the subject of his discourse; he does not launch out into irrelevant digressions, and he always appears to have formed the plan of his whole sermon previously to his entrance into the pulpit. He is undoubtedly a man of talent, though not of the first order; he wants the depth, originality, richness, and force, necessary to constitute the highest grade of intellectual excellence; still he will always command a certain share of popularity; and, if his voice and his action were invariably modulated and regulated with reference to the principles of harmony and taste, they would operate as powerful auxiliaries to his eloquence, which, in consequence of being perfectly natural, easy, and unaffected, and the production of a mind which brings all its powers into action, must always render his ministerial labours of considerable importance to the sphere in which he is placed. CRITICUS.

THE Terrestrial Globe has of late

years undergone considerable improvements in its geographical arrangements but its appendages or mountings, though highly objectionable in many parts, have remained nearly the same for upwards of a century. It is manifest that when the pole is elevated for the latitude of a place, the horizon represents the horizon of an imaginary place at rest like itself, and not the horizon of a place on the earth's surface; for, no place can possibly leave its horizon behind it, as this would appear to do when the globe is turned on its axis. On the other hand, when the pole is elevated for the sun's declination, instead of the latitude of a place, the wooden horizon becomes a terminator between the light and dark hemispheres, while the change of

seasons is represented to arise from the pole's afternately approaching to and receding from the sun. For this reason, as illustrations make more lasting impressions on young minds than precepts, a preceptor's time will be occupied to very little purpose in explaining facts at variance with the representations of his instruments. In fact, it is universally acknowledged that the globe,. with the appendages usually belonging to it, is quite inadequate to illustrate the phenomena arising from the earth's annual motion, and these phenomena form by far the most extensive and interesting part of this study.

The use of the globes is now considered an indispensible part of the education of both sexes; and, as much time is usually spent in studies of this kind, any thing calculated to

facilitate their usefulness must be acceptable to the public.

We have noticed the above defects, and made these remarks, from an idea that something of the kind led Mr. Christie, of Southamptonbuildings, to the invention of an apparatus which appears to be well calculated to supply the deficiencies, and to become generally useful. It represents an artificial globe moving about an illuminated artificial sun, in a circle whose plane makes with the horizon an angle of 2310 gradually descending that number of degrees below the level of the sun on one side, and ascending the same number above his level on the other; thus familiarly illustrating the earth's annual and diurnal motions, the diversity of the seasons, the sun's apparent progress in the ecliptic, his increase and decrease of declination, and the comparative lengths of days and nights at different times of the year on the same part of the earth, and at the same time of the year on different parts of the earth. Besides the illustrations, this globe being furnished with a terminator, a meridian, an horizon, and an hour circle, is calculated to solve all problems usually performed by a Terrestrial Globe.

The sun consists of a lamp on Argand's principle, covered by a hollow sphere of glass roughed like the glasses of the chamber-lamps. This artificial sun is attached to the top of a claw-feet pillar by a steel rod, which is bent near its upper end 231 from the perpendicular, a direction which it again resumes, so that the centre of the sun is over the centre of the stand.

The globe is supported by two parallel leavers, both of which move round the steel rod as their fulcrum, the one on the bent part and the other immediately under it. The hole in the upper lever for receiving the bent rod is widened transversely above and below, permitting the same side of it to continue upwards; and the hole in the lower is widened above and below longitudinally, permitting the alternate elevation and depression of its ends. The upper lever is furnished with a strong brass collar, which fits and moves on the bent part of the rod. This collar is furnished with two arms from

its opposite sides. These arms fit lengthways into the lever, and their extremities or points move in centres fixed within it. The ends of the levers are connected by crosspieces, on the principle of the connecting pieces of a parallel rule. The levers are exactly of the same length, and their arms are to each other as 2 to 1. A brass tube is fixed on the upper end of the piece, connecting the long arms, and a counterpoise on the lower end of the piece, connecting the short arms. The brass tube contains the axis of a Terrestrial Globe, lengthened about six inches at the south pole. The counterpoise balances the globe, and preserves the parallelism of its axis during its motion round the sun. On the bent steel rod, under the lamp, is fixed a board, declining from the level, 2310, representing in miniature the plane of the ecliptic, having the zodiacal constellations, the twelve signs, and the days of the month delineated on it. A pointer, which is attached to the brass collar in the upper lever, moves with the levers along the circumference of the board; it is used in adjusting the globe, to a given day, and in pointing out the sun's longitude for the same.

An

The diurnal motion is produced by a silk line passing round this board, and round a pulley on the axis within the brass tube. equal tension is preserved on the line by its extending round a pulley attached to the upper lever, after passing the pulley on the axis. This line is entirely concealed within a small brass tube, which conveys it from the board to the axis. The globe is furnished with a brass terminator, made a little concave towards the sun, to mark distinctly the boundaries of the enlightened hemisphere, by reflecting light where the direct light becomes faint. The supporters of the terminator, which are made of strong brass wire, extend from the tube containing the axis as high as the equator, where they receive two small pivots fixed into its opposite sides. From the lower part of the terminator, a circular wire extends 90° upward; on the top of which a pointer is fixed, representing a central ray from the sun, and indicating his declination, azimuth, amplitude, and place where he is

vertical at a given time. A circular wire is fixed to the top, and extends 90 downwards behind the globe, where it is attached by a vertical piece to the end of the upper lever, produced till the vertical piece becomes parallel to the piece connecting the levers. This contrivance keeps the face of the terminator towards the sun in all positions of the globe.

The meridian is a brass circle attached to the pole, with its flat surface towards the globe; it is graduated for finding the latitudes of places, and the sun's declination. A groove is turned, near the edge of the meri

dian, to permit a wire circle to move within it.

The horizon is a brass circle, fixed with its flat surface towards the globe to the moveable wire circle; consequently it may be adjusted to the latitude and longitude of any place, and it will retain its adjustinent at pleasure. Both terminator and horizon are cut to permit their passing the axis at the south pole; it is divided into degrees and points of the compass. The hour circle is fitted on the axis below the globe, sufficiently stiff to retain its adjustment when set to the meridian of any place.

AN immense plain, barrack-looking line of building, with a long barn-like Grecian roof, and a thousand windows, in regular rows, is called a palace in France and most parts of Europe; this uniform and heavy taste is colossal at Versailles: it was copied in England in the royal palaces; even the pictures que Vanburgh adopted it at Blen heim, and also partly in his best and lightest work at Castle How ard, in Yorkshire. But, along with extent, a palace should have a splen did variety in the different parts, combined with richness of ornament. In this respect there is a great treat to the lover of picturesque architec ture at Castle Howard; the magnificent dome and front wings to the south are ornamented with exquisite skill and variety; the other wings falling back to the north are less ornamented; and the numerous buildings to the east for domestics are plainer than the wings; so that the different parts of the palace may be said to be emblematic of the family; from the princely dome to the humble apartment of the shoe-boy. Had the stables been joined, and spread backwards on the west side of the house, as the inferior buildings are on the east, the whole would have looked still more like a palace in romance, with its numerous domes, towers, and turrets: in this manner the inferior buildings contrast with the superior parts, while they contribute to the general effect by spreading and retiring from the

main front. It is astonishing what an unjustifiable prejudice country gentlemen in general have against stables being very near a house; they are always talking about a nuisance they would scarcely ever feel. As the fashion is at present, the splendid stables at a distance often rival the house, and the tra veller is as often puzzled to know which is his object; there are some exceptions to this plan, where the stables are attached to the house, and the nuisances being inclosed in courts do not offend the eye, and the owner can look after his horses without having to walk a quarter of a mile perhaps in dirty roads.

There have at different times been abundance of drawings exhibited of a

proposed palace for our Great Duke, most of them possessing merit; but it is much to be wished that government would offer suffi cient rewards for a certain number of the best models and drawings, and let them be collected together as an exhibition till one was selected; models would be infinitely preferable to drawings, because they make the eye familiar at once with the proposed building; and, so far as general effect goes, a rough model would serve equally well with a more elaborate one; there is both taste and talent enough in the country, if the apathy of the govern ment on the subject of Fine Arts did not keep back the proper encou ragement.

JACK SKETCH.

AT this dullest of all dull seasons in London, when, to use the words of a lively contemporary, "who

that has ever seen Bond-street in all

its gaiety and glitter, in its days of clattering hoofs and sparkling equipages, when its centre forms an endless line of moving magnificence, and its gorgeous shops on each side reflect an ever-changing galaxy of belles and exquisites, would recognise the same place, deserted, silent, spiritless, so dull, so dead in look, so woe-begone,' that it makes one 'as melancholy as a gib cat or a lugged bear, to take the same walk for five minutes, which a few months before would in less space of time, have evaporated the densest spleen, and possessed us with all bright, joyous, and spiritual fancies ?"-At this sad and solitary season, when as little is stirring in the world of art as in the world of fashion, we actually began to be alarmed lest we should want a subject for our monthly notice of the progress of the Fine Arts, when we were suddenly tranquillized by a God-send, in the shape of an Exhibition, called the Diorama; an Exhibition which would be highly interesting at any period, but the value of which, to us at least, is increased a hundred fold by the comparative absence at the present moment of other attraction of a similar nature.

We will not pay our readers so ungracious a compliment as to suppose that many of them are old enough to remember De Loutherbourg's Eidophusikon, which was exbibited in this metropolis ;-we decline, for certain personal reasons, to state how many years ago; it is sufficient to say that we saw it in our youth, and that the impression which it made upon our imagination was so strong, that were we now Eur. Mag. Oct. 1823.

as old as Methusalem, that impression would remain in all its pristine vigour.

De Loutherbourg, in every respect an accomplished artist, was probably the greatest scene-painter that ever lived. Not content, however, with the efforts of his pencil alone, he set about devising a variety of contrivances by which the effects of nature might be represented with more truth and vivacity than had ever before attended any imitation of them; and in this object he completely succeeded. His Exhibition, which was originally in Panton-square, not only delighted the public at large, but absolutely astonished the whole body of his brother artists, with Sir Joshua Reynolds at their head, who daily visited his little theatre in crowds.

He

The ingenious author of an entertaining work, lately published, called "Wine and Walnuts," himself an artist of very superior merit, and possessing general talents and information of the most valuable kind, was intimately acquainted with De Loutherboug, and knew all the processes to which he had recourse on the occasion we allude to. has described the Eidophusikon so happily, and in a manner which accords so exactly with our recollection of it, that we will take the liberty of extracting a few passages from the chapter of his work in which the subject is introduced premising that in the work itself those passages are mingled with other matter, which, though very amusing, is irrelevant to our present purpose.

"The stage on which the Eido. phusikon was represented, was little more than six feet wide, and about eight feet in depth; yet such was the painter's knowledge of effect

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