as regards Newnham, is that no rocky bottom is to be found, except at such a depth that piles are useless, and the substitute must be sunk rock; and as to floating piers, there being no depth of water, as in the Saint Lawrence, the navigation of the river would be impeded, and falls, as at Old London Bridge, be created. Dig till you come to the solid ground," is certainly an ancient and sound architectural adage, and taking the main opening (580 feet) of the famous Suspension Bridge over the Menai for a standard, three piers would be required. But, whatever may be the hazard attached to a sandy foundation, it is certain that it has been counteracted without excavation down to rock. Pliny (xxxvi. 14) informs us, that the famous temple of the Ephesian Diana was founded in a marshy soil to guard against earthquakes, and that the foundations might not be laid in slippery ground, " calcatis ea [fundamenta] carbonibus, dein velleribus lance, substravere ;" i. e. they underlaid the foundations with trodden coals, afterwards with fleeces of wool; whence no doubt came the legend that London Bridge was built upon woolsacks. This temple was in existence long after the time of St. Paul. Alexander, when he wanted to pass the Arosis, demolished the villages, and, laying the materials on blocks of stone, promptly formed a bridge. (Pratt's Q. Curt. ii. 30). Nor does it appear to be the fact, that where there is an intervening artificial sound stratum, the substratum beneath is of much moment, for Alberti says, you may light upon a country like that of the Adria tic and Venice, where, under the con gestitia, you can find almost nothing but loose mud (solutum limum). (De re ædificat. fol. xxxii. b.) Our ances tors seem to have acted in this way by making their starlings. "The original foundation of Old London Bridge appears to have been laid at low water, as the heads of the small piles were a little above that level; they were chiefly of elm, and driven in three rows, all round the sides and ends of the piers, about six or seven feet deep, and ten inches square, upon an average. Between these piles a quantity of loose rubble stones were laid without cement, and upon this were bedded three strong sleepers, about 21 inches wide and 9 thick. * At veteres, quod faustum et felix sit, fodito inquiunt usquedum solidum invenias." Alberti de re ædificat. fol. xxxiii. This timber was perfectly sound after the lapse of now above six centuries, and proves a strong practical instance of the preservation of wood under water, when unexposed to the action of air.”—Archæol. xxiii. 18. In building our ancient bridges, the custom was to turn the water-course, make starlings, and upon them raise the piers; and if they had sunk their starlings to low-water level, and not made their piers unnecessarily thick, there would have been no falls. It does not appear, from the London or Bristol old bridges, that they piled under the starlings. (See Seyer's Bristol.) Nor is it at all probable, quick as are the sands of the Severn, and various other sands, that a superstructure raised upon the hull of the Royal George, the Rother-ship, or a Severn trow bedded in sand, would subside much from the superincumbent weight; for Vauxhall bridge has its piers laid in boxes. As to the Severn, the experiment could be easily made by examining the depth to which the causeway on the Arling ham side, used from time immemorial, has subsided; and furthermore, the ford at low water for carriages has been used from time immemorial, so that it can never have been undermined, and must be firm enough for a timberbridge, or an artificial bed of stone laid upon it. In excavation, the American mode is twice as cheap as the English, both in bridge and canalmaking. Instead of human labour being employed in digging, a team or two ploughs the surface with a very strong plough, the men remove the earth as fast as it is turned up; they then plough again, and so continue the process, (if the stratum be not rocky) till the job is completed. A bridge at Newnham, unless supported by Government (and in all nations except this, such public works are so supported,) is, however, not likeGloucester and the Old and New Pasly to find patronage. The people of sages, have a strong interest in opposing such a measure; but there is no ferry like that used at Philadelphia, reasonable objection to a double-boat and the profits of such a convenience might form a fair criterion as to the prudence of ulterior measures. There are turnpike roads in communication on both sides, and no approaches required, nor acts of parliament, nor any outlay except that which does not require serious consideration. Indeed one or more patriotic noblemen or gentle 1530.] Italian Drama at Paris-Alfieri's Plays. men night, by an easy subscription, have a model and full working descriptions sent from Philadelphia, and by assent of the proprietor of the ferry, set the business going. The secret consists in nothing more than two barges, with a stage or platform, guarded by rails, and forming a moveable bridge, which may be hooked on to piers or quays. Having stated plain matters of fact, I do not see why Englishmen in England cannot be as wise as Anglo-Americans, and not sneer at conveniences because they may be cheap; in short, I affirm that by the Philadelphian construction of double ferry-boats, the purposes of a bridge may, to a very ample extent, be exemplified at Newnham, to the great eventual benefit of the town, the country, and the public at large. We borrowed our steam-boats from the Americans, why not other as practicable conveniences? I am aware of insult, because architects will not suffer any public convenience whatever to be projected, if it be possible to prevent it, unless it be done at an enormous expence, and their plea is national ornament. Their plea is just, if the funds can be afforded, but it is known, that if expensive architectural construction cannot be afforded, the picturesque supplies the useful without a fiftieth of the cost; and that the public convenience is not nor ought to be impeded, because a man will obstruct your having a picturesque dwellinghouse, unless you sacrifice almost all you are worth to make it an architectural palace. It is a notorious fact, in favour of the picturesque or Gothic style, that no other style assists or harmonizes with landscape. In the Gothic, there are beautiful, picturesque, and cheap modes of improvement, and accordingly it is now a prevailing fashion to Gothicize rural dwellings. Such a style requires far less sacrifices of money, and few or no demolitions; whereas the Grecian, unless it be spoiled, demands both as to buildings not wholly new. The Grecian style, therefore, for persons of moderate forJune more extensively obstructs the national ornament than here and there an expensive fabric improves it. Yours, &c. AN ECONOMIST. Mr. URBAN, Paris, July 9. 7 man vocalists in the French capital: they commenced their representations on Tuesday last (6th July,) with Rosmunda, a tragedy in five acts, by Alfieri; followed by La casa désabitata, a farce in one act by the Count Giraud, an Italian by birth, but of French descent. It is worthy of remark, that Alfieri's plays are seldom allowed to be performed in Italy; and from the sentiments which pervade them, it can hardly be supposed that the French Government would suffer them to be represented in a translation. Alfieri, in his disposition, seems to have resembled Lord Byron; he identifies tyranny with almost every act of every government, and is unsparing in his condemnation of those public characters who fall under his lash. His strong unqualified language is in consequence scarcely fit for theatrical publication in the vulgar tongue of any country; and however the French literati might wish to excuse the boldness of his style, and the free spirit of his writings, they cannot so easily pardon his severe sarcasms on their national character; they consider it rather inconversunt to commence the Italian performances with a production of such a writer. The Corsaire observes, that if his satire, the Miso-Gallo, had been read in the pit, not an individual would have remained in the house. With such preventions, the merits of the Italian drama cannot be justly appreciated in Paris, until the works of some other authors have been represented. A leading characteristic of Alfieri's tragedies is, that instead of displaying the action upon which his drama is founded, he produces long colloquial descriptions of some strong passion. Threats are held out, curses denounced, and reproaches vented, with nothing to relieve the monotony of the conversation. Shakspeare has been blamed by our classical neighbours, for descending suddenly from the high pitch of tragic sublimity to the low merriment of a farce: those, however, who make this objection, forget that such a transition is often necessary to prevent the attention from flagging. The introduction of comic scenes frequently enables the spectator to become better acquainted with the progress of the narrative than he could be by the declamations and soliloquies of the principal personages; and while it is admitted as a truism, that variety has charms, while well arranged lights and shades are necessary to produce a fine effect in painting, an admirer of Shakspeare is justified in maintaining by analogy, that the pathos and dignity of his poetical scenes are uninjured by their juxta position with comic dialogues: "Each gives to each a double charm, Like pearl's upon an Ethiop's arm." But to return to Rosmunda, which by the way was Alfieri's favourite production, although it is generally considered inferior to his other pieces. Many persons who had never read the Italian author, but who were in some degree familiar with English history, attended the Salle Favart, fully expecting to see the enraged Queen of Henry II. give full scope to her jealousy on the beautiful Rosamond Clifford. It is, however, the daughter of a King of Lombardy who is so called: she has been compelled to marry Alboin, who had murdered her father; she has excited an officer named Amalchide to dispatch him, and in recompense has given him her hand, and the crown of Lombardy. Alboin has left a daughter by his first wife; she is named Romilda, and Rosmunda discovers that her husband Amalchide has fixed his affections on her, while she is devoted to Ildovaldo. Rosmunda wishes to have her step-daughter assassinated, and being unable to accomplish that cruel purpose, she at last dispatches her with her own hand. Ildovaldo and Amalchide, like most rivals, are in full effervescence; and to render the con flict of their passions more intricate, Amalchide is indebted to Ildovaldo for having saved his life in battle. When the lovely object of their strife is lost to them both, by the vindictive Queen's violence, Ildovaldo kills himself in despair; while Amalchide utters threats of direful vengeance, to which the Queen replies, by pointing to her victim. According to the chroniclers of Lombardy, the Queen had given her hus band a poisonous draught; but Amalchide having discovered the fatal quality of the liquor, when he had swallowed only half, he compelled his wife to finish it, and thus deprived her of the satisfaction of surviving him. The part of Amalchide was performed by Paladini; that of Ildovaldo by Colomberti; Rosmunda was represented by Signora Internari, and Romilda by Signora Belloni. They are classed among the leading performers of their country, and their respective parts were executed with considerable dignity and propriety. Their well-accentuated pronunciation, their grave delivery, and the bold language of the piece, formed a striking contrast with the insipid jingling of the libretti usually produced at this theatre. If the performances do not present any striking feature of excellence, we must bear in mind the great disadvantage under which the Italian drama labours: every person of talent is drawn to the Opera by the exclusive patronage which that species of representation enjoys. Madame Pasta is an illustration of this case; she has clearly shewn on many occasions, that if her fine voice had not placed her on an eminence as a cantatrice, she would have shone as an actress. Zucchelli and Pelligrini are also as interesting by their acting, as by their singing; and we may fairly presume that the appearance of a few stars would produce results to the Italian drama, similar to those which the genius of Garrick and Kemble, Lekain and Talma, has ef fected on the London and Paris boards. La Casa Désabitata was well adapted to remove the ennui occasioned by the tragedy. The narrative is founded on the ingenuity of a steward, who, wishing to enjoy the use of a house which the proprietor is desirous of selling, plays the part of a ghost to deter purchasers. A poor poet passes the night there, and with a pistol convicts the ghost of substantiality. This piece is very lively, and abounds with sallies of wit; from its reception it will no doubt be again represented. Taddei, who performed the part of the poet, was full of humour, and kept the house in a continued roar of laughter by his ludicrous pantomime. It is related that when this piece was performed at Turin in 1824, before the Queen of Sardinia, a gentleman was sent to desire the pistols might not be fired. The order was complied with; but instead of substituting a sword, the poet used an unloaded pistol, and the ghost fell wounded notwithstanding! The manager was not so ready as the mountebank, who, having no fire arms, announced that the battles in his booth would be fought with swords and staves, instead of muskets, for fear of alarming the ladies. Yours, &c. W. S. B. 1 1830.] Salisbury Cathedral.-On the Invention of Letters. C. Hoare, Bart. pre In consequence of the distance of the altar from the choir, which in the alterations effected by Wyatt, was remored to the extremity of the Lady chapel; the communion service is now read at a temporary altar placed within the centre arch at the eastern end of the choir (vide May Mag. p. 406). This arrangement naturally points to the necessity of erecting an altar-screen on, or adjacent to, the site of the original one, and which, if executed, it is desirable should still admit of a view of the Lady chapel from the choir of the Cathedral, to accomplish which was the object of the removal of the original one. Mr. Britton, though an eulogist of the alterations, suggests an introduction of this kind, and few who have seen the cathedral in its present state can avoid arriving at a similar conclusion." Mr. Buckler's design is formed with the view of concealing as little of the architecture at the eastern end of the church as possible. It is composed of a low screen of stone, with simple but appropriate ornaments in the general style of the cathedral. It will be observed, that whilst it is sufficiently high to form an appropriate background to the altar, it does not obscure the vaulting and pillars of the matchless Lady chapel. A partial view thus obtained will add to the effect of this beautiful portion of the building, and by separating it from the rest of the church, it will be brought to a conformity with the ancient cathedral arrangement. The screen is also judiciously contrived to fill up the intercolomniations without concealing the bases or any part of the shafts of the pillars of the three fine arches which separate the choir from the Lady chapel. The design appears to have been taken from a row of niches in the central division of the west front, immedi ately above the principal entrance. The embattled finish is however not in strict accordance with the architecture of the cathedral; battlements never being met with in buildings of a period so early, * Salisbury Cathedral, p. 89. GENT. MAG. July, 1830. 9 except in cases of additions to the original design those which finish the western front being evidently the work of a period subsequent to the erection ception, we award our approval of the of the main building. With this exdesign, and add our wish that so obvious an improvement may be speedily carried into effect. Mr. URBAN, Grimsby, June 24. Tile admirandarum omnium in- ventionum humanarum signaculum, is In this investigation I begin with Moses, who, I presume, was not the inventor of letters, though his knowledge of them is absolutely certain; and proceed in the inquiry by regular gradations up to the fountain head from whence they appear to spring. The tables containing the Moral 1 Apud Euseb. de Proep, Evan.1.9, c.26, 5 De Myst. in notâ. 6 Vid. Wait. Orient. Ant. p. 182. 8 Ancient Alphabets and Hieroglyphics explained. Law were delivered before Moses wrote the Pentateuch, and if some knowledge of letters had not existed previously to that period, the legislator would scarcely have been able to understand what was there written, except by immediate inspiration ; and he expresses nothing of that surprise and pleasure which would certainly have been elicited if those tables had contained the first alphabetical writing he had seen. But the circumstance is related with much elegance as an ordinary transaction in this respect. The Tables were delivered into the hands of Moses for the express use of the people of Israel, in a manner which intimates that Letters were not unknown to them. The general knowledge and use of letters amongst the Hebrews, is not derived, however, merely from implication, but is plainly and explicitly declared. They are directed by God himself to teach the written Law to their children; and to write it themselves on the gates and posts of their houses. Now from the slow progress which this species of knowledge made amongst other peoples and nations, it can scarcely be admitted that Moses was the first inventor of letters, because we have direct evidence to prove that the Israelites perfectly understood their nature and application almost immediately after the tables were delivered; and their rapid advances in this art would otherwise be highly improbable, and almost rise to an impossibility. The miraculous intervention of the Deity in this case cannot be admitted, because the writings of Moses do not contain the most obscure hint to sanction such an hypothesis; and if the legislator and the people had been divinely instructed in the use of letters, it must follow that an endowment so extraordinary and beneficial would have merited a peculiar specification, equally with the gift of tongues conferred on the Apostles of Jesus Christ. But the Hebrew language had arrived at a degree of perfection which has never been exceeded; and Moses actually quotes a passage from an existing written record, called "the book of the wars of the Lord."10 If Moses were the inventor of letters, we should be at a loss to account for the high degree of learning and ci 9 Deut. c. vi. v. 9. vilization which the Egyptians undoubtedly possessed,11 although it was strongly impregnated with superstition, as from this source he derived his early instruction;12 and it is doubtful whether all this extensive wisdom and knowledge, in which they surpassed every nation in the world,13 could have been communicated and acquired in that abridged period of human existence, but by the aid of letters. "The very old Egyptians used to write on linen things which they designed should last long; and those characters continue to this day, as we are assured by those who have examined the mummies with attention. tural to imagine that Moses, who was learned in all the arts of Egypt, wrote after this manner on linen?"14 And does it not hence follow that writing was one of the arts of Egypt, before the time of Moses? Is it unna The inscription left on a column by the Phoenicians, whom Joshua drove out of Canaan,15 must prove that they were acquainted with certain intelligible characters to express their ideas, which had been reduced to such a distinct and regular form, as to be understood in after ages. 16 And this consideration makes it clear that letters were not a new invention in the time of Joshua. For though it be affirmed that the knowledge of writing was revealed to Moses in its utmost perfection, yet it will scarcely be urged that these nations, miserably sunk in idolatry, could so soon have reaped the benefit of that revelation. The intercourse between the Phoenicians and the Hebrews had hitherto been so limited, that the manners and customs of the one were little known to the |