66

ac

tiplicity of the Coins offered for sale; for here were not only the age and body, the form and pressure, of our own immediate predecessors, the Saxons and Danes, but those likewise of Greece and Rome. The company, we were informed, was more numerous than usual, and of all grades (for genius, like misery, makes us 66 quainted with strange bed-fellows ;") from the noble Viscount H. to the unassuming medallists, or, as the president of the Numismatic Society terms them, "professional estimators of Coins." Here was an elderly clergyman, whose countenance beamed with benevolence, and who was very high in the church." Next stood a distinguished patriot, and late a member in "the lower house." Another had made the law his study, and, after rising almost to the highest honours of the bar, had retired with distinguished credit to himself and the good wishes of all; and his recreation lay in the "rusty medals," as Lord Tenterden's amusement was penning Latin verses-his intervals of measuring consciences or heads being employed in scanning feet. Behind our retired lawyer stood a noble Baron, who was discussing the merits or genuineness of some passing coin with "a mint" of judgment. Nor was the company restricted to our own countrymen; for the celebrity of some of the items of the sale had drawn thither several foreign bidders.

Amongst the treasures were Medals of Ancient Greece, the Civic, of Athens, Macedon, Sicily, Italy, &c.; Regals, of the Kings of Ancient Persia, Syria, Macedon, and Egypt; Etruscan and Roman copper coins of the noble Consular families, in gold as well as silver; and of the Imperial series, exhibiting the portraits of a sanguinary Brutus, or an amiable Aurelius; and reminding one of Gibbon's remark, that if all our historians were lost, medals, inscriptions, and other monuments, would be sufficient to record the travels of Hadrian.

By a turn of the head, we identified some memorials of our own country in times but obscurely recorded by the pen : for here were coins of our early monarch, Cunobelin, (the Cymbeline of Shakspeare), and others of the British and Roman period. Here were also Saxon Alfreds, Egberts, Canutes, and Harolds: Pennies of our early sovereigns, from the ruthless Norman to "our most gracious Queen :" the varieties of Half-groats, and Groats, to the Testoon, or to the Crown: the smaller coins, not omitting the silver Farthing and Halfpenny; with the gold of the same monarchs, save the ten first, who struck none but silver, and those not larger than

the Penny. Of our copper currency were specimens from Charles II. to the present era.t

Among the foreign rarities were Coins of China, Turkey, Russia, Denmark, and Sweden, (some of the latter as large as a dessert plate ;) indeed, here were coins of most parts of the world.

The British rarities, too, were Medals bearing the busts of the comely Henry VII., the youthful Edward, his sisters Mary and Elizabeth, the pedantic James, the philosophic Charles, Oliver the Protector, Charles and James the Second; James, termed the Old Pretender, and his son Charles Edward, with their consorts, bearing the empty titles of sovereigns in their exile; also, of Henry Benedict, Cardinal of York, the last of the Stuarts, as Henry IX.; and others. Among the Medals of genius were those of Shakspeare, Milton, Newton, Handel, &c. Alas! such memorials of such men are but as "sounding brass" in comparison with the imperishable works which they have left for the admiration of all time. Princes may bequeath their effigies to posterity upon precious metals; but these memorials are all base, in comparison with the labours of godlike genius; and the longest reign is brief as a summer's day beside the immortality of mind! Yes, man is mortal; but his noblest works "put on immortality."

The beautiful specimens of art with which the study of Numismatics renders us familiar, must alike awaken admiration of human ingenuity; as in the medallic achievements of Simon, Tanner, Croker, Kuchler, and Wyon, all artists, as a wag at one elbow says, of the first stamp. Nor must we forget the many exquisite labours of the gravers of the Hammerani, Hedlinger, Droz, Andrieu, the Roettiers, and others, among foreign artists.

Reverting to the English series, we remarked Tokens representing our London and provincial buildings, which will hand these structures to time immemorial, when their materials shall long have crumbled into elementary atoms.

Such a mass of medallic records as were

here concentrated, would astound any but those persons who are accustomed to inspect the cabinets of our leading Numismatists. These treasures had been the

* Edward III. is the first English sovereign, of whom we have gold coins; of him we have the Noble and its parts. Snelling, indeed, has engraved a piece, said to be a Penny in gold of Henry III., of the value of 20s. ; but it is of extreme rarity.

There were Farthing Tokens of James I. and his successor; but halfpence and farthings of the size of those now in use were first coined by Charles II.

property of Mr. Matthew Young, known throughout Europe as one of our most pains-taking medallists, and who had devoted a long life to excellence in his profession. The results of this sale proved the science of Numismatics to be "looking up;" for, (we speak from the experience of an eminent medallist,) had this auction taken place a few years previous, the attendance of bidders would have been less by half than it actually was. The establishment of the Numismatic Society, and the publication of several works on the science, must have materially aided this progress. It is also but a feature of the vast intellectual improvement which has been spreading for some years past; a circumstance which best proves that the study of Coins is, by no means, so puerile and profitless as some few persons have imagined it to be. It has too often been regarded as a mere branch of antiquities, whereas it is not the province of the antiquary alone; and, we are happy to see its utility thus attractively set forth in a work designed for the many:

"Coins are among the most certain evidences of history. In the latter part of the Greek series, they illustrate the chronology of reigns. In the Roman series, they fix the dates and succession of events. (Gibbon's well-timed observation is then quoted.) The reign of Probus might be written from his coins. In illustrating the history and chronology of sculpture and ancient marbles, Coins enable the scholar and the artist not only to discern those peculiarities which characterize style, as it relates to different ages and schools, but to ascribe busts and statues to the persons whom they represent. The personation of the different provinces, too, forms another point of interest upon the Roman coins. Coins are frequently essential to the illustration of obscure passages in ancient writers; and preserve delineations of some of the most beautiful edifices of antiquity not existing now even in their ruins. Addison, in his Dialogue of the Usefulness of Ancient Medals, has long convinced the world of the connexion of this science with poetry. As a branch of the fine arts, it may be sufficient to say, that some of the medals of Sicily belong to a period when sculpture had attained its highest perfection. We would particularly refer to the coins of Syracuse. In every quality of art, too, the Roman coins, to a certain period, yield to the Greek alone. From Augustus to Adrian, the Roman mint was the seat of genius; and coins of admirable execution are found down to the time of Posthumus." *

Penny Cyclopædia, voce Coin.

PHILO.

THE BOOMERANG. THIS Scientific toy is incidentally mentioned in one of our clever Correspondent's (Albert) "Sketches of Evening Parties," as the "Australian crooked lath, with the outof-the-way name, that has the singular property, when you throw it from you, of returning and knocking the thrower's eyes out." (See page 136). It is believed to have been first described in a volume of travels in Van Diemen's Land, published about four years since. It is there described as made of heavy wood; and, as being in the hands of a native, a very dangerous and powerful instrument of offence. About three years since, some specimens were imported into Dublin, and thence soon became such a demand for them, that they have since been manufac tured there. They are used by the students at Oxford and Cambridge, to throw for recreation. The specimen whence the annexed sketch was taken, was imported from Australia; but is evidently intended for England, and is made of light materials which could do little harm should it chance to strike any one.

It is made of some native wood, and has been either cut out of a branch, having the appropriate bend by nature; or it must have been twisted by means of steam, the vein of the wood following the curve to prevent its splitting.

From A, the handle, to B, it measures, including the curve, two feet nine inches. It is two inches in breadth, and about the eighth of an inch in thickness. The upper side is slightly rounded, the lower one is flat. By holding the missile by one end, A, the plane side undermost, and throwing it towards C, as if to hit the ground at thirty yards distance, and giving it, on leaving the hand, a rapid rotary as well

as progressive motion, instead of striking the ground, it rises into the air horizontally, sixty or eighty feet, flies round behind the projector, and finally falls near his feet. or, if thrown with skill, it may be made to form two circles before coming to the ground. The natives of Australia have attained to such skill in the use of it, that they can hit objects at a great distance, and procure their food by means of it; but to a foreigner, such a degree of accuracy appears to be next to impossible.

The rotary motion may be tried on a small scale by cutting a piece of card the *same shape as the annexed wood-cut, and throwing it with a jerk of the finger, from the back of a book.

We quote these details from Silliman's Journal. An explanation of the singular motions of this missile has already been given in one of our scientific periodicals, and shall receive early attention.

Fine Arts.

PAINTING ON STONE.

CICERI, the celebrated decorative painter, of Paris, has discovered a means of fixing colours in stone: he can imitate marble, or paint subjects on the natural stone. The colour becomes so engrafted into the pores of the stone, that it may be ground or polished without injury to the colours.-Foreign Quarterly Review.

LITHOGRAPHY.

M. Dupont, a Parisian printer, has just invented a method of reproducing old engravings and printed books, in any number, without injuring the original impression,-by means of Lithography. The print is covered with a preparation that, on being transferred to the stone, leaves a fac-simile of the engraving, from which impressions may be taken. Something of this kind was attempted fifteen or twenty years ago, but without success: whether this be an improvement on that method, or an entirely new invention, remains to be seen. The process is stated to admit of a reduction of 75 per cent. upon the expense of printing; and engraving, which on copper would have cost 100 francs, will now cost but twenty francs.-The ArtUnion; a Monthly Journal of the Fine Arts.

PAINTING BY MECHANISM.

An invention, by means of which it is possible to multiply, in a mechanical way, oil-paintings, with all their brilliancy of colours, and that with a fidelity hitherto unattainable, is approaching to perfection at Berlin. The inventor, Jacobi Leipman, has been engaged ten years in accomplish ing this difficult object.-Foreign Monthly

Review.

CHROMALITHOGRAPHY.

Specimens have just appeared, from the press of Hullmandel, of a volume of sketches of the "Picturesque Architecture of Paris, Rouen, &c.," by T. S. Boys; in which the effects of water-colour drawings are produced by chromalithography with wonderful power and richness. A streetview in Rouen, shewing the Gothic spire of St. Laurent, over an old conventual building, would be mistaken for an original work of the artist, at a little distance; and is only to be detected as a printed production, on close inspection, by an experienced eye. The blue of the sky, warming into a purple hue towards the sun, the deep tone of colour in the old building, and the texture of the foreground objects, are imitated in a masterly style of handling; nor is there anything crude or patchy, meagre or flaring, in this specimen, as in prints coloured by hand; it is really fine art. With such a print as this before us, as a first effort of a new application of the art of chromalithography-for the blending of tints, and the graduating of tones, and the effect of glazing, produced by one colour shewing under another, render this mode essentially different from, and far superior to, the mere collocation of positive hues and flat ungraduated tints

it is impossible to say where the art of multiplying pictures will stop.-[From the Art-Union, No. 6, full of novelty and discrimination.]

New Books.

INTRODUCTION TO THE LITERATURE OF EUROPE. BY HENRY HALLAM, F.R.A.S. [THE first volume of this truly valuable work appeared about two years since, when we took occasion to introduce it to our readers as "an admirable synoptical view of the literary history of three centuries, by the celebrated author of the History of the Middle Ages." The work is now completed by the publication of the second, third, and fourth volumes; and the whole must be considered as one of the most treasurable contributions made to historical literature in our time. To characterize its merits at sufficient length, to furnish the reader with a correct idea of their importance, would be the work of some days, and occupy the extent of several pages. Suffice it, therefore, to observe, that the "Introduction" is well calculated to add to the well-earned reputation of Mr. Hallam, as one of the most accomplished historians of the age. Every chapter bears impress of laborious research, and the application of its results to the elucidation of disputed points in history, with a

In

spirit of uprightness and literary integrity, which is the best security for truth, as it is also the best basis for the fame of the author. Such we take to be the most prominent feature of the work before us. methodical arrangement, it ranks with the best productions of its class; whilst in general attractiveness it is somewhat in advance of them; for, by peculiarly felicitous illustration, Mr. Hallam has invested the dry bones of history with new life and vigour; and incidents which, in less skilful hands, would have been mere matters of commonplace reference, are, in these volumes, placed before the reader with much of the brilliancy of novelty. criticism throughout is marked by nicety of perception and elegance of diction, such as we rarely witness in the literature of our day; the old and new views are alike sparkling, and what we may metaphorically call the impingement of the

"Long trails of light descending down,"

The

evinces the mastery of the manipulator. Careful analysis, by the nicest processes of reason, and due regard to the relationship of facts and inferences, are foremost in the characteristics of this labour of leisure; for here we do not detect the crudities of haste, nor the disfigurements of a hurried performance. As we did not, however, bargain for an exposition of the "Introduction," we shall pass on to a few evidences of its claim to the high station we have assigned to this work, merely adding, that to the well educated mind it will prove a delightful refreshment; to that numerous class who are athirst for knowledge, a stream of living truth; and to the author, a source of lasting popularity.

At present, our attention will be restricted to the second volume, which comprises the history of ancient literature; theological literature; speculative philosophy; moral and political philosophy and jurisprudence; poetry; dramatic literature; and polite literature in prose; from 1550 to 1600 and physical and miscellaneous literature from 1500 to 1600. The chap

ters are subdivided into sections. From so brilliant a period it will be a pleasant task to select a few illustrative passages.] Learning in England, under Edward, Mary,

and Elizabeth.

We come to the condition of ancient learning in this island; a subject which it may be interesting to trace with some minuteness, though we can offer no splendid banquet, even from the reign of the Virgin Queen. Her accession was indeed a happy epoch in our literary, as well as civil annals. She found a great and miserable change in the state of the universities since the days of her father.

Plunder and persecution, the destroying spirits of the last two reigns, were enemies, against which our infant muses could not struggle.* Ascham, indeed, denies that there was much decline of learning at Cambridge before the time of Mary. The influence of her reign was, not indirectly alone, but by deliberate purpose, injurious to all useful knowledge. It was in contemplation, he tells us (and surely it was congenial enough to the spirit of that Government) that the ancient writers should give place, in order to restore Duns Scotus, and the scholastic barbarians.

It is, indeed, impossible, to restrain the desire of noble minds for truth and wisdom. Scared from the banks of Isis and Cam, neglected or discountenanced by power, learning found an asylum in the closets of private men, who laid up in silence stores for future use. And some, of course, remained out of those who had listened to Smith and Cheke, or the contemporary teachers of Oxford. But the mischief was

effected, in a general sense, by breaking

up

ties. At the beginning of the new queen's reign, but few of the clergy, to whichever least tincture of Greek learning, and mode of faith they might conform, had the the majority did not understand_Latin.† The protestant exiles, being far the most learned men of the kingdom, brought back a more healthy tone of literary diligence. The universities began to revive. An address was delivered, in Greek verses, to Elizabeth at Cambridge in 1564, to which she returned thanks in the same language. Oxford would not be outdone. Lawrence, regius professor of Greek, as we are told by Wood, made an oration at Carfax, a spot often chosen for public exhibition, on her visit to the city in 1566; when her majesty, thanking the university in the same tongue, observed, "it was the best Greek speech she had ever heard."§ Several slight proofs of classical learning appear from this time in the "History and Antiquities of Oxford;" marks of a pro

the course of education in the universi

*The last editor of Wood's Athenæ Oxonienses bears witness to having seen chronicles and other books mutilated, as he conceives, by the protestant visitors of the university under Edward. "What is most," he says, "to the discredit of Cox (afterwards bishop of Ely), was his unwearied diligence in destroying the ancient manuscripts and other books in the public and private libraries at Oxford. The savage barbarity with which he executed this hateful office can never be forgotten," &c., p. 468. One book only of the famous library of Humphrey, duke of Gloucester, bequeathed to Oxford, escaped mutilation. This is a Valerius Maximus. But as Cox was really a man of considerable learning, we may ask whether there is evidence to lay these Vandal proceedings on him rather than on his colleagues." + Hallam's Constit. Hist. of Eng. i. 249. Peck's Desiderata Curiosa, p. 270.

§ Wood Hist. and Antiq. of Oxford.