only in time to be distributed among his friends who attended his funeral. It should not be forgotten, that amongst the subscribers to the bust was the Earl of Eldon, Lord Chancellor of England: upon this occasion the Doctor wrote a letter of thanks; and a few days after his decease his son, General Hutton, sent the medal to this highly distinguished nobleman, with an account of the melancholy event. The following letter was written in answer to the General; and we insert it here, as not less honourable to his Lordship's feelings, than to the memory of Dr. Hutton :

SIR,

Feb. 3, 1823.

I request you to accept my very sincere thanks for your communication received on Saturday last.

Full sixty years have passed since I had the benefit of your vene rable father's instructions, and that benefit regard as one of the many blessings which I have enjoy ed in life, and of which blessings I wish I had been more worthy.

I feel very painfully that I did not wait upon Dr. Hutton personally to thank him for his letter, in which he wrote with such remarkable and affecting kindness respect ing Lady Eldon and myself, both his pupils. I shall preserve that lets ter as a testimony that a person of his eminence had, through so many years, recollected us with a sort of parental affection.

I shall not fail to preserve anxi ously the medal which you have been pleased to send to me, and for which I beg you to receive my thanks. To secure to his memory the respect and veneration of his country, this memorial was not wanting he will long be remem bered by a country so essentially benefited by his life, and works. I am, sir,

Your obedient
And obliged Servant,
ELDON.

To Lieut.-Gen.Hutton.

Dr. Hutton was twice married, and left at his decease, one son and two daughters: the former is a Lieut.-General in the Army, a member of several literary societies, and has been honoured with the degree

of LL.D.

Dr. Hutton bequeathed his marble bust to the Literary and Philosophical Society of Newcastle. It

1

it placed in their new and splendid Institution, where it will be long regarded with pride and veneration. The Doctor always manifested a laudable affection for his native place, of which he gave a proof soon after his retirement from Woolwich; by investing sums of money, for the perpetual support of education, &c. at Newcastle. His benevolence was extensive: to merit in distress, and more especially to the votaries of science, he was always a kind friend and benefactor,

Dr. Hutton, although a profound scholar, and indefatigable in the pursuits of science, did not consider it beneath him to attend to the economy and good management of his domestic concerns, by which he was enabled to provide for a large family in great respectability, and to realize a comfortable independence; a circumstance which proves that his great talents were founded on VIRTUE, the only principle that could render them permanently beneficial to HIMSELF, his FAMILY, and his COUNTRY.

LIST OF DR. HUTTON'S WORKS.

1st. A little Book on Arithmetic for the use of Schools. First printed at Newcastle, in 1764: public ap probation has carried it through ten numerous editions. In printing the first edition of this work, to supply the want of proper mathematical types, in so distant a provincial town as Newcastle, Mr. H. was obliged, with his own hand, to cut with a pen-knife, on the reversed end of old types, many of the algebraical characters that were used in the vulgar fractions, and other parts.

2nd. A large Work on Mensuration, afterwards published in 4to. numbers, the last of them in 1770: printed at Newcastle. So high had the author's talents risen in public esteem, that more than 1,000 subscribers encouraged the work, which was peculiarly remarkable for traits of genius, industry, and acquaintance with the best of the more ancient authors.

3rd. A re-publication of all the useful parts of the Ladies' Diaries, from the beginning in 1704, to 1773: published quarterly, in parts, beginning in July, 1771, and ending in July, 1775. With long and numerous notes. 5 vols.

4th. Survey of the Town and County of Newcastle-upon-Tyne, with an abridged account of the history, trade, and population of that place, in 1771, or 1772. A very

learned and useful work.

5th. The Principles of Bridges containing the mathematical demonstrations of the properties of the arches, the thickness of the piers, the force of the water against them, &c. with practical observations and directions drawn from the whole. 8vo. 1772. A very learned and useful work.

6th. Contributions to Periodical Reviews,

7th. Numerous and valuable communications, printed in the Philosophical Transactions!

།

8th. Mathematical and Philosophical Tracts. I vol. 4to.

9th. Tables of the products and powers of numbers, published by order of the Commissioners Longitude. I'vol. folio, 1781.

of

10th. Mathematical Tables; containing the common hyperbolic, and logistic Logarithms: also Sines, Tangeants, Secants, and versed Sines, both natural and logarithmic; with several other tables useful in mathematical calculations: to which is prefixed a large and original History of the discoveries and writings relating to those subjects. 1785.

12th. Elements of Conic Sections, with select Exercises in various branches of the Mathematics and Philosophy, for the use of the Royal Military Academy, at Wool wich. 1 vol. 8vo. 1787.

13th. Mathematical and Philosophical Dictionary, 2 large vols. 4to. 1796,

14th. A new Course of Mathematics, composed, and more especi ally designed for the use of the Gentlemen Cadets, in the Royal Military Academy, at Woolwich. 2 vols. 8vo.

15th. Select Amusements in Philosophy and Mathematics, from the French of DESPIAU, with corrections and additions, particularly a large table of the chances or odds at play. 1801.

16th. An Abridgement of the Philosophical Transactions, 18 vols. 4to.

17th. A Translation of Montucla's Recreations in Mathematics and Natural Philosophy.

Mr. EDITOR, An interesting article on the abovenamed Lady having appeared in the third number of The Liberal," perhaps the following additional particulars may not prove unacceptable to your numerous readers:

· Madame la Comtesse d'Houdetot, who, though plain in person, and more than thirty years old when first seen by Jean Jacques Rousseau, excited by the charms of her conversation, and the fascination of her manner, the admiration of that eccentric being, retained to a very advanced period of life her peculiar talent of pleasing and delighting all who approached her.

After the signature of the preliminaries of peace in 1801, I spent some months in France, and had frequent opportunities of seeing this lady, and partaking of her hospitality, both at Paris and at her villa in the valley of Montmorency. At both those places, though then nearly eighty years old, she collected around her a circle formed of persons most eminent for literary reputation; among whom it will be sufficient to name the Abbe Morelet, Mons. and Madame Pastoret, Mons. and Madame Suard, the Marquis de Bonay, and Madame la Comtesse de Flahot, author of Charles et Marie, and other popular novels. Madame d'Houdetot was herself not the least

distinguished of her society; and her bon mots, her epigrams, and her rapartees, were the delight of her guests; while her habitual sweetness of temper, amenity and cheer ful spirits, gave a constant charm to her evening coteries.

M. St. Lambert, the object of her early attachment, and for whom she resisted the eloquence and assiduity of Rousseau, was, when I had the honour of knowing Madame d'Houdetot, an inmate in the family, which then presented a scene very singular indeed to the eye of an Englishman. M. St. Lambert had fallen into a state of mental imbecility, bordering on idiotey, and, with the capriciousness often remarked in persons labouring under such calamities, had taken an antipathy to Madame d'Houdetot, whose unwearied attentions he received in the most ungracious manner, while he was, on the contrary, delighted with those of her husband, who, on his part, with a generosity truly French, offered every possible mark of kindness to his afflicted guest.

At Madame d'Houdetot's parties the letters of La Nouvelle Heloise were frequently made the subject of conversation; and I recollect very well, on an English lady observing how dangerously seductive was the language of those epistles-"What would you have thought," replied Madame d'Houdetot with a smile of of self-approbation," if you had known, as I did, that these letters, though nominally addressed to Julie were meant for yourself?"

It was the rare good fortune of this lady, who was more than ninety years of age at the time of her death, to continue till the last moment surrounded by friends and relations of the former I have already spoken, perhaps the following account of her immediate relations may not be uninteresting.

Madame d'Houdetot's only son, who survives her, was already a field officer when the French Revolution burst forth. Though a member of the ancient Aristocracy he did not emigrate, but, remaining in the ser

and had a command at Martinique when that island was captured by the British forces. He was conveyed to England, and resided several years at Lichfield on his parole. While he was so detained, it is creditable to the present Marquis of Lansdown to state, that his Lordship, who had known his mother at Paris, made every possible exertion to procure the liberation of the general: he failed in the attempt: and, after a long captivity, Count d'Houdetot did not return to Paris till nearly the conclusion of the last war. His son was, during the imperial government, Prefect of Brussels; and his daughter married the Baron de Barante, one of the most eloquent speakers in the present French. House of Peers.

Besides M. D'Epinay, Madame d'Houdetot had another brother, who held the office of Introducteur des Ambassadeurs in the reign of Louis XVI., and his widow is that Madame de la Briche whose Sunday soirees are mentioned by Lady Morgan, and other travellers, as affording the best specimen of literary and fashionable society in the French Capital.

The only child of Mons. and Madame de la Briche,-and therefore the grand-niece of Madame d'Houdetot,-is now the wife of Count Mole, the descendant of the celebrated President of that name, Grand Judge under Napoleon, some time Minister of Marine under Louis XVIII., and one of the most distinguished members of the French Peerage.

Perhaps I ought to apologize for having troubled you with so long an account of this lady's family, but as the celebrity of Rousseau gave her importance, so her own many amiable qualities will excite a wish in those who become acquainted with her history to know something of the society in which she closed the evening of her lengthened life..

I remain, Sir,
Your obedient Servant,
A Traveller.

EVERY one, however slight his antiquarian knowledge may be, has heard of the celebrated painted vases, formerly called Tuscan, but now Grecian: numbers of which are found in Campania, Sicily, Magna Grecia, and also in Attica and other parts of Greece, properly so called: they represent Grecian mythology and customs, and the Greek inscriptions on some of them entitle them to the appellation of Grecian: because they are also to be met with in Tuscany, and abound more particularly in Campania, where the Tuscans twice gained a settlement, many are induced to think that the Grecians had them from the Tuscans, and therefore call them Tuscan. If the fact is urged that there were no Tuscans in Sicily and Greece, in both of which are abundance of such vases, it is said in reply that they were imported from Tuscany, and some were made for the Greeks with Grecian inscriptions. It is very certain that manufactories existed not only in Campania but in middle Tuscany; and especially in Arezzo, the neighbourhood of which has produced some equal to the most beautiful of Campania.

The vases discovered under ground are in great numbers, and are recog. nized by the faintness of the ground of the painting, and also of the flowers and figures which commonly represent the rites and triumphs of Bacchus. If we are to judge from the places in which they are found, they may as well be called Greek as Tus

can;

and the argument in favour of the former acquires a very considerable force, when we consider that all the mythological scenes represented on them are Grecian, that they are used by Grecians, and that the inscriptions on the Campanian and Sicilian vases are Grecian, whilst there is not one in the Tuscan character. Besides, when we consider the epochs of the first and second arrival of the Tuscans in Campania, we are able fully to establish the facts, that in their first arrival the Tuscans did not possess the arts in Eur. Mag. June, 1823.

that perfection which is seen in many of these vases; at the time of the second they were the scholars and imitators of the Greeks which they continued to be; their elegance will not allow a supposition that they were made at the former of these periods; at the latter, the indisput able connection of the Tuscans with the Grecians, the indications which these vases possess of a Greek origin, and the perfection of the Tuscan arts through Grecian masters, entirely remove any foundation to call them exclusively Tuscan. That vases of more or less elegance are found in Tuscany is no objection to this hypothesis, for we reply that the Tuscans took the usages or at least the perfection and elegance of the Greeks from Campania or other countries, and in proportion to the increase or decay of the Tuscan arts they were formed better or worse, and therefore the locality and the goodness of the workmanship decide nothing in favour of their Tuscan origin, but rather turn the balance in favour of the Greeks.

We will leave the question of their origin, which will always be a matter of doubt, and call them ancient painted vases, whilst we proceed to their uses; which we shall divide into two classes, the primitive and the secondary.

We are of opinion that their primitive use may be conjectured from the paintings on them, consisting of various representations but verging to the same point; births, mar riages, games, combats, victories, Philosophers, Bacchanalians and Bacchanalian scenes are the chief subjects of the pictures on them; also sacrifices, libations and other sacred ceremonies, together with the common customs of life and the deeds of heroes more or less celebrated. Various are the explana tions that have been given by dif ferent antiquaries of these pictures, and the use of the vase according to the painting upon it. From the inscription, on some Ho Tais Kaños, a handsome young man, it has been

supposed they were amatory presents from the mistress to her lover; others will have it, that this signifies a brave, noble, or celebrated man, in which sense the Greeks sometimes use Kaλos, and the Latins egregius, pulcher, as Servius remarks in the words of Virgil, Satus Hercule pulchro pulcher Aventinus: and Florus says, Hactenus Populus Romanus pulcher, egregius, pius atque magnificus. The principal sustainer of the amatory sense of these words was the famous Lanzi, in his book de' vasi antichi dipinti detti volgarmente Etruschi. We shall in this place insert the words of Onofrius Boni, who gives a just tribute of praise to Lanzi, in his learned analysis of that person's work: "A celebrated cup, in the possession of Mazzocchi, affords a clue to the explanation of the painting; on the insides of the vases, which are much more difficult to decipher than the outsides. In the inside of this cup is represented a young man sitting down, wrapped entirely in a cloak, and a cloth on his head, in the act of listening to another young man half naked, who by his gesture appears instructing the former, with the inscription Opoa Bello. Mazzocchi is content with giving the same name Opoa, to every figure painted on the convex or outward part, and leaves it to be elucidated by antiquaries. Lanzi does the same, and thinks it is a word of much the same signification as the Latin quinquertium, which signifies the five games of the palæstra, leaping, running, throwing the discus, hurling the spear, and wrestling. The word or name Opoa, repeated on every vase with five figures, shews that the person excelled in all the exercises of the gymnasium.”

Lanzi adds many thing in his work to prove the amatory sense of the word Kalos of the Agrigentine vase. Boni, in the place beforementioned says, "its inscriptions are two one signifies, Talides made this, which being repeated on the inside, and outside, means that the artificer was pleased with his work: the other, over a young man, standing by himself and holding the beam of a pair of scales, whose countenance is more highly finished than ordinary, is, to the handsome Cli

Before we attempt to speak of their use let us consider what remains to be said of the word Kalos. The celebrated antiquary, David Akerblad, thus wrote in the year 1809: "The discussion about the painted vases with de Rossi has been exceedingly interesting, and I might say new; perhaps there are few literati in Italy who are aware of the value of his remarkable collection, which must be of the greatest service to the arts and sciences. If you should have occasion to mention the various inscriptions which make this collection of so much value, you may say meo periculo, that Ho rais Kaños, which is met with on one or two diste (cups with handles) and a patera (goblet) is not singular, as I have met with it on different vases in Italian collections as well as beyond the mountains. As this formula was very common among the ancients, on that account it might have been negligently written; and the learned who are fond of involving themselves in the midst of obscurity, whilst they neglect what is plain and simple, have done so particularly in this inscription. Mazzocchi, interpreting it on a patera when it is five times repeated, makes out the barbarous name Ho Toas or Toas; and Lanzi, without giving himself any trouble for further search, thinks it represents a beautiful youth from Opoa, which certainly never existed." In the Royal Museum at Florence, there is a vase on which the great Visconti reads Καΐηος Καλος; nor has Lanzi or any other a better opinion, the words preceding Kalos being very much effaced; but we think that instead οι Καΐηος Καλος was written Καλος Kaλos, as in the vase which we shall mention hereafter. That this word Kanos refers to bravery rather than to beauty, can be proved, by observ