-39

7,185

«The grand total of the Confederation of the Rhine is as follows: Number of confederates Extent in square leagues Number of inhabitants Amount of revenues in German florins Contingent

15,485,081

in 85,041,851

118,950

Certain provinces appertaining to Ha nover were not at this period disposed of, viz. Kalenburg, Luneburg, Lauenburg, Bremen, Verdun, Hadeln, Hoya, and Diepholz. The fate of the four Hans Towns too, comprehending an extent of 38 square leagues, with a popula tion amounting to 298.000 inhabitants, and a revenue of 5.660,000 florins, was then unknown; their names are, Hamburgh, Bremen, Lubeck, and Dantzic. Bonaparte had also at his disposal the Prussian provinces of Erfurt, Blankenhayn, and Bayreuth; the Hessian provinces of Hanau and Niederkatzenellen bogen, the principality of Fulda, formerly appertaining to the House of Orange, and Swedish Pomerania! These territories amounted in square leagues to 662,25, in number of inhabitants to 17,005,098, with a revenue in German florins of 93.701 851.

We formerly presented our readers with a table of the extent, revenues, and population, of certain of the German states, but the present account is far more explicit and complete.

MISCELLANIES.

medals to be engraved, as they appeared to him to be eminently worthy of attention, and among others we find those of the colony of Corinth, struck during the reign of Marcus Aurelius, on which are impressed the grand altar of Melicesta,

and the emblems of the Isthmian games.

Here also is to be found the anecdotical medal of Antoninus Pius, struck at Neoclaudiopolis, in Paphlagonia, which bears the date of 191, and thus esta. blishes that of a second epoch, in imitation of the other cities of the same province. In addition to this we are presented with a medal of Commodus, struck at Nicea, in Bithynia, hitherto published with a false legend; another of Julia Augusta, struck at Cyzica, iu Mysia; one of Diadumenian, struck at Ephesus, which bears the image and the name of the philosopher Heraclitus, originally of that city, &c. Among the medals of Heliogabalus, belonging to the colony of Sidon, M. Sestini has discovered a new type or figure, that emperor being there represented under the attributes of a priest of Astarte. Zoega pretended that it a Triptolemus. Among the consular medals, about se venty in number, one only in the least remarkable has been found, impressed with the letters Q. L. C. which the editor explains to be Quintus-Lutatius-Cer

CO.

was

The Roman medals of the Higher Empire are nearly all of the middle bronze, and for the most part in excellent preservation. Sestini has distinguished a very precious one of a much venerated general, bearing the same inscription as another struck in honour of Augustus: "CONSENSU SENAT. ET EQ. ORDIN. P. Q. R.; which proves that by the unanimous consent of the senate, the Equestrian order, and the people, a statue had been erected in honour of Augustus, and that Caligula had decreed the same mark of respect to Germa nicus.

"Dissertation sur le Dialecte de Pindare," &c.-A Dissertation on the Dialect of Pindar, by GEOFFERY HERMANN. -The author of this pamphlet combats the opinion of M. Sturz, who pretends that the dialect of Pindar is the Doric or Eolic, which greatly resembles the primitive Greek. He on the other hand contends, that Pindar never wrote in any particular dialect but in the vulgar tongue of his native country, which was composed of all the dialects, and he quotes numerous examples in support of his argument.

It is not a little remarkable that this dissertation was written for the express purpose of serving as an inaugural essay to the degree of doctor in philosophy, at German university!

"Aux Eleves & Aux Amateurs de Architecture," &c.-An Address to such Scholars and Amateurs as delight in Architecture, by the ABBE UGCERRI, architect.As some of the hints and observations contained in the address of this celebrated Italian, who was at once a priest and an architect, may prove ser viceable in this country, we shall here subjoin a few of them. The Abbé begins by observing, that, if philosophy be the flambeau that conducts to the art of design, architecture is still more indispensibly indebted to such a light. As this branch of knowledge possesses an equal claim to the two honourable titles of art and science, so ought its productions to have no other guide than reason. If after the restoration of the arts, modern architects had not wandered from so excellent a guide, they would not have mistaken their own caprice for a rule; and we should not have seen the immense multitude of unreasonable works, which occasion equal surprise to the well. informed spectator, both as to the possibility of the invention and the folly of the applause bestowed on productions equally vain, wild, and insignificant. Notwithstanding this, the absurd and capricious style of architecture, here alluded to, had so seduced a great majo pity of artists, that the philosophical opi nions of Laugier and Tregier, in France, and the reiterated and sarcastical remarks of Lodoli and Mizia, in Italy, were in vain exerted, in order to bring them back to the paths of right reason. These mannerists, pleased with their own capricios, refused to hear her, and it was not until towards the conclusion of the last century, that the propriety of their arguments began to be discovered.

Milizia, it is true, was no more than the echo of his predecessors, with this difference however, that he reproduced their ideas, with more order and greater method, and that with these he mingled some of his own natural causticity and cynicism, which made him be dreaded by other artists. At length, they not only avoided contradicting, but even listened to them with attention. This new manner of writing on architecture, produced a revolution in the art; for it was ac companied with this advantage, that the scholars themselves began to argue og

the subject, and at length felt how preferable the lessons of reason were, to those of a master governed by prejudices, It was then that they endeavoured, for the first time, to trace the source of those forms and proportions, so often hitherto copied without being comprehended; denied by ignorance, and violated with out remorse by innovation. It was then that they discovered in the divisions and the mouldings of the different orders, the principles whence they derived their origin; hence they perceived the neces sity of applying these in such a manner, as to proportion the solidity and elegance of their edifices, to their quality and de sign. In short, it was at length fairly avowed, that the Franciscan, Father Lodoli, so justly denominated the Socrates of Architecture, had developed a principle replete with the most happy consequences in the two following bad Italian

verses:

"Debbonsi unire e fabrica e ragione,
E sia funzione la rapresentazione."

Since this fortunate return to truth, architects have become the faithful dis ciples of the philosophy of the arts, by not only conforming to these maxims themselves, but also in inspiring them into their disciples.

"And in order the more effectually to fortify the minds of such young men as may devote themselves to architecture," says our author, “the necessity of an elementary book has been intiniated to me. It is with this view I have just published the result of my studies, and my toils, relative to the three Greek or ders of architecture, while I have not been inattentive to those remains of Roman art, which are still to be met with in such profusion in Italy. It was on such monuments as these, that Palladio and Vignoles formed their style and composed their models. The works of these two celebrated authors ought to be constantly in the hands, or rather in the hearts, of young artists, that, out of deference to, and in imitation of, them, they may contemplate and admire the antique, &c. thus perceive the real source of whatever is beautiful. The labours of such great masters, will enable them to select and to apply the principles of the ancients, to the edifices of their own age; and accustom them at the same time, to contemplate every thing with their own eyes, without being blindly led by others, and thus becoming the slaves of example. In fine, as the advancement of she

It is not a little remarkable that this dissertation was written for the express purpose of serving as an inaugural essay to the degree of doctor in philosophy, at German university!

"Aux Eleves & Aux Amateurs de Architecture," &c.-An Address to such Scholars and Amateurs as delight in Architecture, by the ABBE UGCERRI, architect.As some of the hints and observations contained in the address of this celebrated Italian, who was at once a priest and an architect, may prove ser viceable in this country, we shall here subjoin a few of them. The Abbé begins by observing, that, if philosophy be the flambeau that conducts to the art of design, architecture is still more indispensibly indebted to such a light. As this branch of knowledge possesses an equal claim to the two honourable titles of art and science, so ought its productions to have no other guide than reason. If after the restoration of the arts, modern architects had not wandered from so excellent a guide, they would not have mistaken their own caprice for a rule; and we should not have seen the immense multitude of unreasonable works, which occasion equal surprise to the well. informed spectator, both as to the possibility of the invention and the folly of the applause bestowed on productions equally vain, wild, and insignificant. Notwithstanding this, the absurd and capricious style of architecture, here alluded to, had so seduced a great majo rity of artists, that the philosophical opi. nions of Laugier and Tregier, in France, and the reiterated and sarcastical emarks of Lodoli and Milizia, in Italy, were in vain exerted, in order to bring them back to the paths of right reason. These mannerists, pleased with their own capricios, refused to hear her, and it was not until towards the conclusion of the last century, that the propriety of their arguments b gan to be discovered.

Milizia, it is true, was no more than the echo of his predecessors, with this difference however, that be reproduced their ideas, with more order and greater method, and that with these he mingled some of his own natural causticity and cynicism, which made him be dreaded by other artists. At length, they not only avoided contradicting, but even listened to them with attention. This new manner of writing on architecture, produced a revolution in the art; for it was ac companied with this advantage, that the scholars themselves began to argue og

the subject, and at length felt how preferable the lessons of reason were, to those of a master governed by prejudices, It was then that they endeavoured, for the first time, to trace the source of those forms and proportions, so often hitherto copied without being comprehended; denied by ignorance, and violated with out remorse by innovation. It was then that they discovered in the divisions and the mouldings of the different orders, the principles whence they derived their origin; hence they perceived the necessity of applying these in such a manner, as to proportion the solidity and elegance of their edifices, to their quality and design. In short, it was at length fairly avowed, that the Franciscan, Father Lodoli, so justly denominated the Socrates of Architecture, had developed a prin ciple replete with the most happy consequences in the two following bad Italian

verses:

"Debbonsi unire e fabrica e ragione,
E sia funzione la rapresentazione.”

Since this fortunate return to truth, architects have become the faithful dis ciples of the philosophy of the arts, by not only conforming to these maxims themselves, but also in inspiring them into their disciples.

"And in order the more effectually to fortify the minds of such young men as may devote themselves to architecture," says our author, "the necessity of an elementary book has been intimated to me. It is with this view I have just published the result of my studies, and my toils, relative to the three Greek orders of architecture, while I have not been inattentive to those remains of Ro man art, which are still to be met with in such profusion in Italy. It was on such monuments as these, that Palladio and Vignoles formed their style and composed their models. The works of these two celebrated authors ought to be constantly in the hands, or rather in the hearts, of young artists, that, out of deference to, and in imitation of, them, they may contemplate and admire the antique, &c. thus perceive the real source of whatever is beautiful. The labours of such great masters, will enable them to select and to apply the principles of the ancients, to the edifices of their own age 3 and accustom them at the same time, to contemplate every thing with their own eyes, without being blindly led by others, and thus becoming the slaves of example. In fine, as the advancement of she

art

and German, contains the remains of the Iberian language. Immediately after the Iberians, appeared the Celts, a nation in all probability more numerous, which occupied the right bank of the Danube, the north of Italy, Gaul, the British Isles, and a portion of Spain. From their language have sprung the two Celtic dialects, still spoken at this very day, the first in Ireland, and the second in the mountains of Scotland. Adelung seizes this opportunity to give a catalogue of the real Celtic words, and dedicates no fewer than thirty eight pages to his enquiries into the originality of the poems of Ossian, which be pronounces to be very modern. He next treats of the Welch and Cornish tongues, and of the Bas-Breton, which he considers as merely two dialects of the same language. These he does not think, strictly speaking, to have been Celtic; they are, according to him, two remarkable remnants of the Belgic, or Kiri, an idiom which he considers as a mixture of the Celtic and German, surcharged with Latin.

Next after the Celts, come the Germans, more especially in the north of Europe; then, in the south, the Thracians, fathers of the Greeks; finally, in the east and the north, the Slavi; these, together with the Fins, appear to have been the last who arrived in that portion of the world, where France and Russia are now the chief dominant powers. Of the German language, three principal dialects remain:-1. The teutonic, subdivided into the superior, interior, and middle. Out of the mixture of the three, the second of which possesses five different branches, in the time of Luther and his first disciples, arose a common idiom called High German, because the superior or upper dominates; this is doubtless a rich idiom, but not intirely fixed, although very much cultivated in the north of Europe, and greatly perfected during the latter moiety of the last century.

2. The Germanic-Scandinavian, which has four branches, the Danish, the Norwegian, the Icelandic, and the Swedish.

And 3. The English, a prodigious mixture, in which the German predomi

nates.

"Like the Celtic language, the Thracian is also lost; but the remains of it are found in its illustrious daughters, the Greek and Latin; these are classical tongues, idioms of literal ideas, dialects of literature and Christianity, languages which have civilized nations, and which

will continue to be cultivateri so long as the human race shall be preserved from barbarity and destruction."

Adelung shows that the Thracian language prevailed both in Asia-Minor and Europe, in the east and the south. He makes the ancient Greek and its various dialects, to spring from it, and finally the modern Greek of our own times. From the Greek and a Celtic dialect, but chiefly from the Greck alone, proceeded the Latin; and from the Latin, whether pure or corrupted, proceeded the Italian, the Spanish, and the Portuguese. The French, according to him, is a mixture of the Celtic, German, &c. " but has hecome, by its elegance and clearness, by its celebrated works in eloquence and poetry, as well as by its original books in all sciences, still more than, by the mi. litary prowess, and superior policy of the nation, the universal language of modern Europe."

The eastern Sclavonic produced the Russian, the Illyrian, the Croatian, &c. The Western Sclavonic has four branches, the Polish, Bohemian, Servian, and Northern Windic. The Walachian also comes from the Sclavonic, but is greatly mixed with bad Latin; next comes the Finnick language, which is mother of the Findlandish, the Laponic, the Esthoman, and the Livonian. These, with the Hungarian and the Albaneses, are the idioms treated of in the second volume of Mith. ridates, and the whole will be rendered complete by means of a third, which is now in the press. This is to contain researches into the languages of Africa as well as of America, and M. de Murr, of Wirtemburgh, and M. de Humboldt, have both furnished the continuator with their assistance upon this occasion.

MISCELLANEOUS.

"Europe en Petit.”—Europe in Miniature: being a collection of medals of the middle ages, and appertaining to all parts of Europe; by the proprietor JEAN JEOFFERY LIPSIUS, inspector of the Gallery of Antiquities appertaining to his majesty the king of Saxony.

The editor has declined to follow the system of Medai, and those who take him for their model, but adopted that followed by Eckhel, in his Catalogue of the Cabinet of Medals at Vienna, as well as in his Doctrina Nummorum Veterumi; that is to say, the geographical order. Lipsius bas doubtless encountered a va riety of difficulties in the classification of modern medals, in conformity to a

system