and in plain prose, Le Brun, who wrote a treatise to shew how the passions affect the face and features, supports the opinion, that the principal seat of them is in the eyebrows. Indeed Pliny had said the same thing several hundred years before him. I have hitherto observed only upon the passions in general; but I shall now consider their respective power of adding to, or diminishing beauty. more or less, a tendency to shock the witnesses of them. The finest union of passions that I have ever observed in any face, consisted of a just mixture of modesty, sensibility, and sweetness, each of which, when taken singly, is very pleasing, but when they are all blended together in such a manner as either to enliven or correct each other, they give almost as much attraction as the passions are capable of adding to the prettiest face. It is, I believe, owing to the great force of pleasingness which attends all the kinder passions, that lovers do not only seem, but are really, more beautiful to each other than they are to the rest of the world; because when they are It may indeed be said, without fear of contradiction, that all the kind and tender passions add to beauty; while the cruel and unkind ones promote deformity. It is therefore on this account, that goodnature may very justly be said to be the best feature in the finest face. Mr. Pope has included the princi-together, the most pleasing paspal passions of each sort in two very appropriate lines: sions are more frequently exerted in each of their faces, than they "Love, hope, and joy, fair pleasure's smi- are in either before the rest of the ling train ; world. There is then a soul upon their countenances, which does not appear when they are absent from each other, or even when they are together, conversing with other persons who are indifferent to them, or rather lay a restraint upon their features. It must be observed by every one, that there is a great difference in the same face, according as the person is in a better or worse hu Hate, fear, and grief, the family of pain." The former of which naturally give an additional lustre and enlivening to beauty; as the latter are too apt to cast a gloom and cloud over it. Yet in these, and all the other passions, I do not know whether moderation may not be, in a great degree, the rule of their beauty, almost as far as moderation in actions is the rule of virtue. Thus an excessive joy may be too bois-mour, or in a greater or less deterous in the face to be pleasing, and a degree of grief, in some faces and on some occasions, may be extremely beautiful. Some degrees of anger, shame, surprise, fear, and concern, are beautiful; but all excess is ugly. Dulness, austerity, impudence, pride, affec-out any good features, and a very tation, malice, and envy, have all, indifferent complexion, may have gree of liveliness. The best complexion, the finest features, and the most exact shape, without any mental expression on the face, is almost as insipid as any of the waxen figures in Westminster Abbey; at the same time, a face with a very taking air, from the sensi- || riage of the whole body; but how bility of the eyes, the general good- much more it belongs to the head humoured turn of the look, and than to any other part, may be seen an agreeable smile about the mouth. in the works of the most celebrated These three things, it is probable, painters. Indeed every motion of will go a great way towards ac- a graceful woman is full of grace: counting for the je ne sai quoi, or it is true, she may not be sensible that inexplicable pleasingness of of it herself, nor should she apthe face, to use a frequent expres-pear to be so in any great degree, sion, which is so often talked of and so little understood, as the greater part, and perhaps all the rest of it, would fall under the last article, that of grace. Thus it is evident, that the passions can give beauty, without the assistance of colour or form; and take it away, where they have united the most strongly to give it. The last finishing and noblest part of beauty is grace, which every one is accustomed to consider as inexplicable. We know indeed, that the soul is, but we scarce know what it is thus every judge of beauty can point out grace, but no one that I can quote has yet fixed upon a clear and satisfactory defi nition of it. Grace often depends on certain little incidents in a fine face; and in actions it consists more in the manner of doing things, than in the things themselves. It is perpetually varying its appearances, and is therefore much more difficult to be considered, than any thing fixed and steady. While we look upon it in one character, it steals from our observation, and is succeeded perhaps by another that flits away as soon, and with as imperceptible a disappearance. The grace of attitudes may be long to the proportion of each part, as well as to the disposition and car for the moment that any gesture or action appears to be affected, it ceases to be graceful. There are two very distinct, and, in some measure, opposite kinds of grace; the majestic, and the familiar. The former belongs chiefly to the very fine women, and the latter to the very pretty ones. That is more commanding, and this the more delightful and engaging. The Grecian painters and sculptors were used to express the former most strongly in the looks and attitudes of their Minerva, and the latter in those of Venus. In the well-known fable of the Choice of Hercules, the author has made the same distinction in his personages of Wisdom and Pleasure, the former of which he describes as moving on to the young hero with the majestic sort of grace, and the latter with the familiar. Graceful, yet each with different grace they PER-CENTAGE OF ALCOHOL. but the latter in a less degree than || Truth, wisdom, sanctitude severe and pure, the former. Two of far nobler shape, erect and tall, (Severe, but in true filial freedom plac'd,) Whence true authority in men: though both Not equal, as their sex not equal seem'd: For contemplation he, and valour form'd; For softness she, and sweet attractive grace, Paradise Lost, I. iv. 298. (To be continued.) PER-CENTAGE OF ALCOHOL, Of 0,828 specific Gravity at 60° Fahr. contained in various Kinds of spirituous Liquors of Commerce. by measure, of Per-centage of alcohol by measure. Brandy, Naples, average proportion of three samples .53,25 Ditto, Spanish, average proportion of six samples . . 52,25 Rum, Jamaica, average proportion of six samples . . 53,25 Ditto, Leeward Islands, average pro portion of nine samples Arrac, Batavia. Whiskey, Irish, average proportion of four samples six samples Geneva, Dutch A number of gentlemen who are votaries of chemical science, and who meet occasionally for the purpose of performing chemical experiments, for the sake of mutual improvement, when the labours of the day are over, instituted lately a series of experiments, for ascertaining the quantity of alcohol, of a given strength, Ditto, Scotch, average proportion of in various kinds of spirituous liquors of commerce. They were induced so to do, on account of there being no statement of the quantity of alcohol contained in all the most common spirituous liquors of commerce, to be met with in any of the most popular works on chemical science. The results of their experiments, which were repeated three times successively, were the following: 100 Parts, Per-centage of alcohol by measure. Brandy, Cognac, average proportion by measure, of of four samples 52,75 Ditto, Bourdeaux, average proportion of four samples Ditto, Cette 53,00 49,50 54,25 53,50 52,25 Gin, average proportion of six samples 51,50 The alcohol was obtained by distilling the spirituous liquors, and abstracting from the obtained product the water, by the addition of carbonate of potash, and then slowly redistilling the decanted alcohol in a water-bath saturated with common salt, which afforded a spirit of the specific gravity above stated. I am, sir, with respect, your most humble servant. J. MILLMAN. 51,50 COLEMAN-STREET, Nov. 16, 1819. 53,00 351 MUSICAL REVIEW. THE favourite Overture, Songs, Du- | it is perhaps the most perfect work ets, &c. in Mozart's celebrated of modern arts. In spite of the Opera" IL FLAUTO MAGICO," continual repetitions of its peror" ZAUBERFLÖTE," for the Pi-formance, this composition, instead ano-forte, Flute, and Violoncello, of becoming over familiar and tearranged, and inscribed to her Roy-dious, never fails to create the al Highness the Duchess of Kent, most rapturous enthusiasm; and by J. Mazzinghi. Book I. 4s. there is this peculiarity in its conA NOTICE, which accompanies struction and nature, that while its this number of the above publica- fugued and complicated windings tion, informs us, that Mr. Maz- afford the most exquisite treat to zinghi has undertaken the labo- the fastidious connoisseur, the raw rious task of arranging the five ears and hearts of the profane most celebrated operas of Mozart, multitude are equally electrified. viz. Le Nozze di Figaro, Il Don What other composition, as learned Giovanni, La Clemenza di Tito, and profound as this, can boast of Cosi fan' tutte, and Il Flauto Magico, this universality of effect? in a twofold manner; that is to say, in four parts, consisting of piano-forte, harp, flute, and violoncello; and again in three parts, viz. piano-forte, flute, and violoncello. The price of the first-mentioned edition to be 6s. a number, of the latter 4s. a number. These remarks we have made to shew, that the overture to the Magic Flute" was well calculated to serve as a specimen and test of Mr. Mazzinghi's labour. He appears to have exerted his utmost, not only to infuse the spirit of the original into his arrangement, but The undertaking appears to us even to avail himself of minor feato be one of very great magni- tures of detail, which, with many, tude; but, in the hands of Mr. if not most other professors, would Mazzinghi, we see no reason to have dropped through the sieve of despair of its successful comple-adaptation, but which his better tion. The abilities and the unri-judgment and matured musical valled experience of this Nestor in the field of harmony, afford to him facilities which few others could command. We are beforehand convinced, that he will do ample justice to the scores of Mozart. This opinion derives practical confirmation from the first number of the "Magic Flute" now before us. The overture to that opera is an effort of human genius, which, in all probability, will command the admiration of ages to come; Fol. VIII. No. XLVIII. tact knew to be important. Besides the overture, this number contains the introduction, in C minor, "Oh Stelle," and the subsequent terzett in G, both which are handled in a manner fully as satisfactory as the overture. If the succeeding numbers partake as strongly, as this, of the advantage of Mr. M.'s careful attention to his author, this edition of Mozart's dramatic works will be a very valuable addition to the library of the musical connoisseur. 3 A Grand Duet for the Piano-forte accompaniment for either of these and Flute, or Violoncello, dedi-instruments is rather lightly writcated to Doctor Gibbings, by F. ten, probably to render the comKalkbrenner. Pr. 7s. plete execution of the duet more The Return to Claremont, a Mili- An apology is due to our read-secure. ers for withholding from their notice this classic work of Mr. Kalkbrenner's until the present moment. It has been for some months in our portfolio, and its consideration was delayed partly by a desire to examine its score more minutely, and partly by an excursion to the Continent, in which our favourite pursuit of musical knowledge has not been quite at a stand, but directed to objects which, we flatter ourselves, will enable us occasionally to make some amends for the temporary interruption in our critical func-put together. In point of form, we tions. could have wished Mr. G. had ab Mr. Kalkbrenner's duet com-stained from the use of those Scotprises an adagio in D minor, an ticisms in measure, which shortallegro in the same key, and a en the value of the first note in theme in D major with seven vari- the bar, in order to bounce upon ations. Now that we have fully the next with the greater weight. surveyed the structure of this com- In a German, we rather wonder position, we feel the impossibility to see such a practice find an imiof confining, within the limits of tator. The third line (b. 4 and 5) our scanty space, any thing like a presents the successive fifths A E satisfactory analysis of its mani- and D A, which might easily have fold excellences. In grandeur of been avoided; and in the fifth and style, originality, depth of science sixth bars, a very awkward moduand chasteness, as well as varietylation into the chord of C occurs. of ideas, this duet ranks among The succeeding polacca has many the very best labours of its author. claims to our favour; the subject The allegro, alone, would vouch is very good, and its different rafor the correctness of this asser-mifications, sometimes in the boletion; but in the adagio, as well as ro style, are both ingenious and in the theme and variations, further tastefully imagined. Of these, we and innumerable beauties present may notice an interesting part in themselves. To enjoy these, how-the relative minor key (p. 2), and ever, an experienced performer is an elegant little trio (p. 3). In indispensable, and the accompaniments of either flute or violoncello are absolutely necessary. The the fourth page, a portion in D minor attracts favourable attention; the whole of page 5 is well digest |