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for an indefinite pause a double m dash; and for a
definite pause a triple m dash. The rest will be re-
presented by points without letters; instead of the re-
peat will be used an index thus ; in place of the
bind, if the distance from letter to letter is short, will be
used a hyphen ; and, if long, a half parenthesis ~; a
slur will also be expressed by a half parenthesis
half bracket will be the direction as to how many letters
go to a syllable in singing, and a brace will be placed
at the beginning of the lines as it is used for triplets in
poetry {.

- ; a

The time of the air, which at present is marked thus } C, to signify four crotchets in a bar, now to be called a division, or to signify three minims, or to signify

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six quavers, &c. are to be; or four semi-colons, or

6

three colons, or six commas.

The distinctions of measure, as they relate to time, from slow to fast, or as they relate to expression from soft to loud, are intended to be expressed by common English words, as slow for adagio, quick for allegro, soft for piano, loud for forte, &c.

The apogiature, which is signified in common notation by a small note will now be expressed by a small letter, appropriate to the type in which the music is printed, just as the type called English requires longprimer, pica, bourgeois, &c. Various graces will be understood by words instead of marks, such as beat, shake, turn, tril, &c.

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EXPLANATION OF THE SCALE. (See Fig. 4. Pl. V.)

On this scale are placed sixty keys, which go on in successional half tones. With the exception of the lower left hand notes F and G, the letters are placed in sevens; the first seven being large Roman capitals, the second seven large Italic capitals, the third seven small Roman capitals, the fourth seven small or lower case Roman, and the fifth seven, or rather six, small Italic. By means of the five-and-twenty short keys the whole scale is so separated that the notes are a half tone from each other. The short keys, which represent the flats and sharps in music, are now to be considered as the grave or acute accents, according to circumstances. To shew this I will describe by way of specimen the seven letters and their appropriate accents, which are distinguished by small Roman capitals. The short key to the right of A is its acute accent; the short key to the left of A is its grave accent; the acute accent of B is c be cause no short key to the right interferes; the same short key to the left that made the acute accent of A makes the grave accent of B. Our third letter is c, of which the short key to the right is the acute accent, and Bitself is the grave accent. D has a regular acute and grave accent right and left. E has its grave accent in the short key to the left, and its acute accent in the letter F to the right, as F has its grave accent in E to the left, and its acute accent in the short key to the right, and G, like D, has its acute and grave accents in the short keys to the right and left.

It is possible to facilitate the learning still more, by pasting printed letters on the keys of the instrument, which would wear off as the pupil became perfect.

Specimen

Specimen

the Manner of writing the Music.

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4 G;-c;, e,e,d,c,b,—c; b,a,G;, G‚—a; G‚F,E,G,c,e,—e; d ; ; g;—a‚g,f,e,f ; g;

-C

— C; C; C; C; —C; C; C; C; —G;&;, ; G;—C; C; D; G;—

(e; f,d‚c‚b‚a‚‚—g,e,f,d,e,c,f,d‚—c; b; c;, &, — che,

e,d,c,b,

e, e,d,c,b,—dc; b,a, G;,&,Come join me fellow-subjects all, Like

C; F; G; F;— E; D; C; F; — G; &; C ́; ; · — C:

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G; G; G, ; — C;

b; c,a G; F';-G: happy, good, and wise.

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my cause, I

E;-F;

E; D; F;

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; G;—c;, d, e,d, c,b,-a,c, d,e fe Wives, children, friends, shall join

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G; C; D; D;— G; G; G; ; —C; C; C:

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G;~c;, d, e,d, c,b,-a,c, d,e, f,e, d,c,—

Wives, children, friends shall join my cause, I

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'; — C; C; C; E; — F; E; D; F;—

b,d,e,f,g,c,d,e,—a; b;c;,g,a,g,f,e,f;g;-; f,d,c,b,a,c,—g,e,f,d,e,c,f,d,—c;b;c c; § sing religion and the laws.

G‚F, E‚D, C;E;—G;G; C; ;—C; C;D;G;~C; F; G; F; —E; D; C; F¡—G,G;C

In witness whereof, &c.

Remarks

Remarks on a Method of making a Composition for Paint ing, in Imitation of the ancient Grecian Manner,

By Mrs. HOOKER, of Rottingdean, near Brighton, From the TRANSACTIONS of the SOCIETY for the Encouragement of ARTS, MANUFACTURES, and COMMERCE. The Thanks of the Society were voted to Mrs. HOOKER for this Communication.

I

HAD the pleasure to communicate to the Society for the Encouragement of Arts, Manufactures, and Commerce, in 1786, when Miss E. J. Greenland, my method of painting in imitation of the ancient Grecian manner or incaustic painting, and in consequence, they did me the honour to adjudge to me the Gold Pallet, and also afterwards to approve my account of the result of above fifty experiments per day, which I made during more than four months in 1792, in the hope of discovering some means of making wax, gum-mastich, and water, unite like a cream, in order to expedite the formation of the composition for imitating the incaustic painting, which was published the same year by the Society of Arts. Į now take the liberty of sending them another copy, but with some alterations and many additions, which I trust will be found calculated to facilitate and improve that method of painting, as they have arisen from much observation and reflection on several pictures I have painted since I had last the honour of addressing the Society. In consequence of the application of several gentlemen of the profession, I have drawn up this paper, which considering the former attentions of the Society, I thought it would be proper for me to offer first to them

for

for their acceptance, but if they should not think it worthy of communication, I hope they will pardon the intrusion, and attribute it only to the sense of gratitude I feel for the honour already conferred.

Method of preparing and applying a Composition for Paint ing in Imitation of the ancient Grecian Manner.

Put into a glazed earthen vessel, four ounces and a half of gum arabic, and eight ounces, or half a pint (wine measure) of cold spring-water; when the gum is dissolved, stir in seven ounces of gum-mastich, which has been washed, dried, picked, and beaten fine. Set the earthen vessel containing the gum-water, and gummastich, over a slow fire, continually stirring and beating them hard with a spoon, in order to dissolve the gum-mastich; when sufficiently boiled, it will no longer appear transparent, but will become opaque, and stiff, like a paste. As soon as this is the case, and that the gum-water and mastich are quite boiling, without tak ing them off the fire, add five ounces of white-wax, broken into small pieces, stirring and beating the different ingredients together, till the wax is perfectly melted and has boiled. Then take the composition off the fire, as boiling it longer than necessary would only harden the wax, and prevent its mixing so well afterwards with water. When the composition is taken off the fire, and in the glazed earthen vessel, it should be beaten hard; and whilst hot (but not boiling) mix with it by degrees a pint (wine measure) or sixteen ounces more of cold spring-water; then strain the composition, as some dirt will boil out of the gum-mastich, and put it into bottles: the composition, if properly made, should VOL. XIII.-SECOND SERIES. N

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