end of a tube about half an inch in diameter, and the tube was then filled with sand and held in an upright position, without the escape of the sand, although the wafer adhered very slightly. It was shewn, also, to be impossible to push sand out of a tube, even when inclined as much as twenty degrees downwards, the pressure being transmitted to, and resisted by, the sides of the tube, which would ultimately give way. This fact explained how, in the blasting of rocks, sand is as effectual in filling up the hole, as a plug, or the most compact driving, whilst, at the same time, it is free from the dangers unavoidably attendant on these latter contri

The following is a brief analysis of Mr. Taylor's interesting lectures "On the early English Opera" :

LECTURE I-Mr. Taylor commenced by saying that the history of the national opera presented a more interesting and more extensive field of inquiry than the subject on which he had before addressed the members of the Institution, (English Vocal Harmony), since its range was more extensive and its influence more powerful. It had been said that the English had no national opera; but that all their notions of it had been derived from Italy. He proposed to inquire into the correctness of this assertion. The records of the English Opera were exceedingly scanty and imperfect; and, in fact, its history, connectedly and fully, had never been written. To this circumstance, many erroneous opinions were to be traced.

The earliest dramatic exhibitions in England, as in every other part of Europe, were in the 12th century, when it was customary, on festival days, to dramatize and represent portions of scripture. In the reign of Henry VIII., tournaments were succeeded by the more peaceful exhibition of the pageant; and in the masques of B. Jonson the personages and characters of these several exhibitions were united and grouped into a classical form, with the addition of dialogue, scenery, and music. Here, then, was the germ of the opera.

Mr. Taylor then reviewed the history of the stage, before and at the time of Shakspeare, and the history of music as connected with the stage. Some very curious illustrations were introduced: masque music, in the reigns of Henry VIII., Elizabeth, and James I., both dances, songs, and chorusses. Elizabeth fostered and encouraged the musical talent of her subjects: James banished these from his court and favour, and introduced a set of foreign musicians, whose works are now only known to collectors, and whose merits were in every way inferior to those of the English writers of the preceding reign. A very beautiful composition, by Wilbye, in honour of his royal mistress, concluded the lecture.

LECTURE II.-Charles I. manifested the same predilection for

*The law mentioned in this lecture, that of equal quantities of sand flowing through the same aperture in equal times, has been applied to an useful purpose in Birmingham, in regulating the equal supply of fuel to the fireplace of steam engines, without the superintendence of a workman.

foreign composers as his father, before whose death the fine school of madrigal-writers was extinct: he also inherited James's love for masques. The celebrated masque, given by the four Inns of Court, called "The Triumph of Peace," was noticed, and some of its music,-a —a part of which is preserved in the Music School library, at Oxford, was given. In Comus, the masque attained its highest perfection. An interesting account of this beautiful dramatic poem was given, and one of its songs, as originally set by H. Lawes, was sung. Milton's opinion of the proper use and employment of the stage was given in an eloquent passage from his prose works; and the lecture concluded with a review of the writings and character of H. Lawes, to whom, Mr. Taylor said, the proud distinction of being the friend of Milton worthily belonged. Some passages from Lawes's writings, breathing a noble and high-minded spirit, as well as a cultivated understanding, confirmed this remark, and several of his songs justified Milton's discriminating appreciation of his talents as a composer.

LECTURE III.-In order to ascertain the amount of obligation which the English opera owed to that of Italy, Mr. Taylor gave a succinct review of the latter from its very commencement in 1597, illustrated with some very curious specimens. He then traced the origin and progress of recitative, quoting, in illustration of his remarks, from cotemporary Italian authors. It appeared from these, as well as from the illustrations, that the English and Italian operas proceeded from a different point, on different principles, and aimed at a different object: it also appeared that the opera only became a regular dramatic exhibition in Italy cotemporaneously with the production of Comus.

The lecturer then proceeded with the history of the English stage, from the time of Shakspeare to that of the Restoration: interspersed with many curious and interesting circumstances connected with this subject. The plays of Shakspeare were not then favourites with the public, and but few were on the manager's acting list. They were usually subjected to alterations, and frequently acted under new titles. D'Avenant, in consequence of this distaste for Shakspeare, had recourse to a new kind of entertainment, in which music was connected with the drama. The second of these was Macbeth, to which he added a scene, (borrowed from an old play), for the purpose of introducing music into the piece. It has been a subject of no little controversy, who was the author of this celebrated music; some writers having ascribed it to Purcell, and Mr. W. Linley, in the preface to his "Songs of Shakspeare," to Eccles. Mr. Taylor entered into a full discussion of this historic doubt, detailing and commenting on all the evidence for and against each claimant ; his summing up was decidedly in favour of Matthew Lock. Some of Lock's other dramatic music was then sung, as well as the music in the play of The Witch, (probably the earliest dramatic music extant), and, afterwards, a selection from the music in Macbeth.

Mr. Taylor then proceeded to examine the correctness of the generally-received opinion, that the extinction of the fine school of English vocal harmony, which existed in the reign of Elizabeth, was effected by the Protector and his adherents; and showed, by an appeal to facts and dates, that this had, in fact, been accomplished by James I., and that Morley, Wilbye, Weelkes, and their cotemporaries had all ceased to write, and their music to be sung, thirty years before Cromwell's name had been heard of.

LECTURE IV.—Mr. Taylor began this lecture by reviewing the state of music in England, at the time of Purcell's birth, (1658), and that, also of Italy, (as far as related to dramatic music), in order to ascertain whether Purcell had thence been enabled to derive any of the materials for his operas, or any hints for their construction. Specimens were given from Italian operas of the dates of 1650 and 1662, also from the operas of Lulli and other French composers of the same period. Purcell's first opera, "Dido et Æneas," then came under review, and it appeared, that, although this opera was formed on the Italian model, (the dialogue being carried on in recitative), that in variety, beauty, and originality, it was superior to any foreign production of a like kind, especially in the construction of the recitatives, in which style of writing Purcell at once proved himself a consummate master. A selection from this rare and beautiful opera (which exists only in MS.) was then given. The music in "Edipus" and in "Tyrannick Love" was next alluded to, and a duet, from the latter, sung.

Mr. Taylor then noticed the discouragement which Purcell and his cotemporaries received from Charles II., by whom all English music was proscribed, and a number of inferior French composers introduced to his court, and patronized,-among these, M. Grabu, for whom Dryden wrote his " Albion and Albanius," from which a duet was sung. The next opera which came under notice, was Shadwell's version of "Timon of Athens," for which Purcell supplied the music. The lecture concluded with a duet and chorus from this Play.

LECTURE V.-Purcell's opera, "Dioclesian," "Dioclesian," was noticed, with marked approbation. This, Mr. Taylor observed, might be properly called the first legitimate English opera. Purcell had here thrown aside the rules which the Italians had prescribed for the construction of dramatic music, and had composed an opera, of which the dialogue was spoken, and music only occasionally introduced. His own views of dramatic composition were modestly, yet eloquently, expressed, in his dedication of this opera. Some pieces from it were then sung. Mr. Taylor next proceeded to review the state of instrumental music at this period-their compass, character, and usual mode of employment. The success of this opera stimulated the partizans of foreign talent to import a number of singers and dancers; but the attempt to rival Purcell wholly failed, and brought only loss on those who projected it.

January, 1836.—VOL. III., NO. XIV.

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His next opera was King Arthur,"-written for him by Dryden, from which several pieces, including the celebrated Frost Scene, were performed. The success of these operas was not regarded with pleasure by the dramatic writers of the time; and even the managers joined in the endeavour to ridicule and proscribe them.— These efforts appear to have been unavailing; the fame and the popularity of Purcell were established, and soon after appeared his "Fairy Queen." From this opera four pieces were given.

LECTURE VI.-Purcell's next dramatic work was, A Fool's Preferment," from which rare composition two songs of great beauty were given. This play, by D'Urfey, was succeeded by the first and second parts of "Don Quixote," in which Eccles was, for the first time, associated in dramatic fellowship with his great cotemporary: from these pieces illustrations were also given. Then came Fletcher's "Bonduca," revived by Purcell, from which the majestic chorus of the druids, "Hear us, O, Rugwith!" and the wellknown duet and chorus, " To Arms!" were selected for performance; and from the "Indian Queen," the fine scene " Ye twice ten hundred deities," and a tenor song of uncommon sweetness and beauty. A selection from the music to "The Tempest" followed. A variety of historical and critical remarks were interspersed, chiefly extracted from cotemporaneous publications, and tending to elucidate Purcell's character, and the difficulties with which he had to struggle, and curiously illustrative of the dramatic and musical history of the times. He seemed now to have established himself in the public favour, and a career of usefulness and success seemed opening before him, when those anticipations were blighted by his early death. His enthusiasm seems to have continued unabated to the last, and during his dying illness he still laboured in the service of his art.

Mr. Taylor closed this series of his lectures with a review of some of the most remarkable and beautiful features in Purcell's character. It will be seen, from these lectures, that Mr. Taylor has entered on the review of a subject of which the history has hitherto been given but scantily and erroneously. That Burney's "History of the English Opera," is both meagre and incorrect was made sufficiently apparent; and it has required no ordinary labour and research to supply the deficiencies which exist in a narrative commencing at so remote a period, and of which the authentic records and illustrations are so rare and difficult of access. These deficiencies Mr. Taylor has laboured diligently to supply; and he has accumulated a mass of information and a succession of illustrations on this subject, new as they are interesting. The subject, as he remarked, is not only one of curious inquiry to the musician, but possesses some degree of national interest, inasmuch as it involves the question whether or not the English can lay claim to what may be called a national opera ?—a question which has often been hastily answered, but never, previously, subjected to a careful, elaborate, and patient examination.

We observe that Mr. Taylor is pursuing the inquiry on which he has entered; and that a second series of lectures, embracing the period between the death of Purcell and the arrival of Handel in England, will be delivered by him at the London Institution, in February.

BIRMINGHAM MECHANICS' INSTITUTION.

THE principal feature of novelty in the conduct of this Institution, during the past quarter, has been the opening of a news and reading room, at the school buildings. The apartment so applied is of moderate dimensions, well lighted and warmed, and presents an air of comfort and good arrangement. The supply of newspapers, of course, is limited by the means provided by the amount of subscriptions; but the probability is that the advantages derived from the establishment will soon cause an increase in the number of subscribers. The room is open every evening, from seven till ten o'clock; the greatest order and decorum are always manifest; and we have, at some of our visits, been pleased to see a game of chess silently prosecuted in one corner of the room.

The class studies proceed regularly and efficiently: the writing, arithmetic, and mathematics, under the care of Mr. Daniel Wright, whose judicious mixture of energy and kindness has given to these schools an aspect of order and industrious occupation which are gratifying to witness. In the drawing class, the services of Mr. Wright have been assisted during the past year, by the gratuitous attendance and very able tuition of a gentleman whose efforts to raise the character of the school have been crowned with success. The class for the French language, which had been previously attended, gratuitously, by a member of the Institution, is now under the superintendence of Mons. Martin, a professional instructor of eminence, on terms creditable to the liberality of that gentleman. The extra expense of this class is supported by an extra subscription on the part of its members; and we are more and more convinced that the same course ought to be pursued in respect of the other classes. Education, like every thing else, may be offered too cheaply, to the deterioration of the article; and we think that very few of the youth who embrace the advantages offered by a Mechanics' Institution, would hesitate to pay a small subscription quarterly, for admission into each class. These small subscriptions would, probably, cover the stipends of the instructors, and provide the classes respectively with books, slates, drawing-patterns, &c., while the sums now appropriated to these purposes, would be applicable to the liberal increase of the already valuable library; and to securing the