and night assaults they were formidable enemies. In most cases, their attacks were sudden and disorderly, somewhat after the manner of the Mamelukes, though it is evident that the shots from their long pistols told well. I remember seeing a suit of harness that had belonged to a German man-at-arms, in the breastplate of which was an indentation or squat, as large as a man's fist. In the centre of this was another cavity large enough to admit a marble. The wearer had been struck by a harquebuze or pistol shot, which, though his armour was of proof, must have cast the soldier with frightful violence out of his saddle. I leave to medical men to determine whether such a tremendous concussion would not occasion immediate death. At any rate, this proves the terrible force of a bullet when shot point blank even against a heavy cuirass.

Montluc rails against the introduction of fire-arms in bitter terms, and he had good cause to do so, for upon several occasions he was exposed to eminent dan ger from the storms of musket shot, two of which at the taking of a certain fort, shattered his arm above the elbow in a

dreadful manner. It is generally supposed that little execution was done by the musket or harquebuze in those days, but those who will take the trouble to look into the "Commentaries" of this general, will find that many men of note, who had escaped the sword and the pike in a hundred battles, fell beneath this murderous engine, the loud knell of which seems to have struck terror into the hearts of the soldiers upon its first introduction, for Sir Philip Sydney, in a letter to his father dated from Utrecht, says, speaking of his servants and followers, Turner is good for nothing, and worst for ye sound of ye hackbutes."

It was from the walls of castles and forts that the effects of these engines were so fatally felt, for a man could, after he had discharged his piece, conceal himself behind the ramparts until he had wound up the wheel lock, or prepared his match, and charged again, whereas in the open field little time was allowed for a second shot, and in most cases, the harquebusiers, after their first discharge, either clubbed their pieces or drew their swords, and fell pell mell upon the enemy. Sometimes, however, it was customary in forming a battalion to place a pikeman and a harquebuzier alternately, the former for the purpose of keeping off the horse while the latter charged their pieces again. Towards the close of the 17th century, the handles of the soldiers' daggers were so formed, that they could be fixed in the

muzzle of the gun, but then it had not the advantage which the bayonet of the present day possesses, as it was necessary to unfix the dagger before the piece could be fired. Many hundreds of these dag. gers may be seen in the Tower of London. The introduction of the bayonet abolished the use of the once formidable pike, and it has ever since remained a most powerful weapon in the hands of the English soldier.

;

The invention of fire-arms has saved thousands of lives, but through these infernal engines, the best and the bravest have been hurried to a premature grave. Our own Sidney received a shot from a hackbut at Zutphen, which shattered the bone of his thigh, and caused his death and Bayard, the "Chevalier sans peur et sans reproche," perished on the field of battle, having been "wounded to death” by a arquebuze shot. As some atonement, however, for this, the unerring hand of Hamilton of Bothwelhaugh struck from the book of the living that coldblooded villain who drove his Queen into the toils of her merciless enemy Elizabeth the Regent Murray.

Should my observations be found amusing, I shall recur to this subject again, and speak of the use of cannon in this country and on the continent, from the period of their invention to the present time. J. Y. A-N.

-Fine Arts.

EXHIBITION AT THE ROYAL ACADEMY For the Olio.

I admire, None more admires, the painter's magic skill, Who shews me that which I shall never see; Conveys a distant country into mine, And throws Italian light on British walls. COWPER.

Ir pushing and crowding at the door of the Academy shews any love and devotion for the arts, certainly John Bull is most marvellously taken by the painting muse, for, without exaggeration, the rush to get in was as eagerly displayed by the immense number on the first day of opening as at the theatres upon particular nights; and, doubtless, the treasury of the Academy received a bumper. without further digression, we commence with-

But,

No. 7. Pilate washing his hands. J. M. W. Turner, R.A.-This is in Mr. Turner's usual style-at least the style which he has within these few years adopted: his painting may be called by any other name, for there is very little meaning in the whole composition,-the only thing which strikes us as at all ex

plicable is a figure meant for our Saviour bearing the cross; and Pilate is seen in the dim distance washing his hands in what appears yellow water.

No. 17. Interior of a Cathedral, elevation of the host. H. Willson. This is a very clever little picture, but placed too low for the eye to judge rightly of its merits.

No. 19. Dell scene in the Park of the Countess of Dysart, at Hatmingham, Suffolk. J. Constable, R.A.-A bold and vigorous painting, displaying that depth and extraordinary force of colouring peculiar to this artist

No. 20. Ines de Castro parted from her children (Alphonso King of Portugal, Donna Ines, Absar, Gonzales, Caello, &c.) H. P. Briggs, A.-This is of the same size as his Queen Margaret and the Robbers of last year. The present work is neither better nor worse, with rather more of a theatrical group, and too much of stage effect in the colouring. The figure and expression of Donna Ines, and the child clinging to her, is very good.

No. 24. Portrait of the Countess of Jersey. The Baron Gerard.-This is a whole-length, and an elaborately finished production; though it does not abound with the magic of beautiful colouring, yet the effect is clear, forcible and most natural; the flesh colouring chaste and pure, and the figure stands out in admirable relief: we could not help drawing the comparison how superior this painting was to any other in this respect.

No. 30. View of Orvieto, painted at Rome. J. M. W. Turner, R.A.-This is more agreeable to our taste; here we may really trace some resemblance to natural objects. No. 181, Palestrina, composition, by the same, is better still. Here he revels in the utmost bound of poetic landscape, and displays extraordinary powers of composition; indeed, if it were not for that imaginative charm, which can be traced in his meanest productions, with his abominable colouring, Turner could not stand. Fuseli wished there was no nature, for then he might paint up to his imagination; but Turner has no scruples in that respect, for he takes mighty good care to knock out every thing which can be called natural. 304. Calais sands, low water, Poissards collecting bait, is another. This again is very good; but No. 226, Jessica, out Herod's Herod. Of all the daubs which Turner has lately favoured the public with, none can surpass this in extravagance. We really thought that his Mortlock Terrace, and Rembrandt's Daughter, could not be outdone; yet,

last year, he had his Boccacio, which might have been Bo any thing else, for any meaning there was in it. As to Jessica, he has drawn a female, the face really pretty well done, in the act of closing the window, when Shylock says, "Jessica, shut the window, I say," with arms of Kangaroo length, with a large Spanish hat of various colours, pure white feathers, pure white scarf, and a pure bright yellow back ground, and bright green Venetian blinds represented as affixed to the window. Only fancy, reader, the effect of all this extravagance. There is much occasion for us to shut our eyes, for to look at long is impossible.

is

In the portrait department there is a decided improvement in the productions of the different artists. There are eight of the late President's, and only two perfectly finished, No. 76. Portrait of his Excellency, the late Sir Ralph Woodford, Bart. Governor of Trinadad, and No. 100 Portrait of the Archbishop of Armagh. This last is an excellent painting, and abounds with Lawrence's unrivalled beauties; the only female portraits by him are, No. 71. Portrait of Lady Belfast, which, though unfinished, distinguished by all that sweetness of colour and grace of attitude for which this lamented man is eminent; and No. 114. Portrait of Miss Fry.-We heard some ladies say, on looking at this portrait, that it was too masculine; we cannot say that the objection holds good; Lawrence was too much of a painter to permit so fit a model to pass by, not to produce a work something out of his ordinary line. Here is all energy and activity of mind depicted most forcibly, the compressed mouth shows the strength of intellect, and the glistening eye the poet's eye."

It

is an admirable study for every student in painting who paints for immortality of reputation. No. 116. Portrait of the Earl of Aberdeen.-A half-length, remarkable for the simplicity and breadth of its composition. No. 136. Portrait of Thomas Moore, Esq.-This is more unfinished than any of the others, but it has a remarkable clearness of colour and spirit of attitude. Nos. 321 and 427. Portraits of the Earl of Hardwicke, and John Angerstein, Esq.-These two complete the number, and all are beautiful paintings. We have been thus minute, as probably these will be the last ever hung up at the Academy for exhibition;-little did we calculate last year, that the career of Lawrence would so soon be closed!

Having paid our tribute to the deceased President, we will now do justice to his successor. The decease of Lawrence seems to have been a stimulus to the other

1

portrait painters to put forth their greatest powers. No. 54. Portrait of Miss Elton, by Shee, is a fair specimen of his abilities; we do not remember ever hav. ing seen a better female portrait by him. No. 309. Portrait of the lady of Robert Hicks, Esq. by the same, is equally good, with great clearness of colouring. No. 179. Portrait of the Rt. Hon. W. W. Wynn. Same.-This is an excellent portrait. No. 73. Lavinia, from Thomson's Seasons, is a very pleasing and poetical composition. Here there is no gaudy colouring, nor hasty pencilling; the figure of Lavinia is full of rustic simplicity and beauty, and coloured soberly, as is the whole; and the background picturesque.

(To be continued.)

Specimens of Art.-Part 1.*

The plan of this work is similar to Mr. Cooke's "Gems of Art," published some few years ago, and we may say that it is of equal merit. The engravings, four in number, are executed in Mezzotinto by those rising artists, R. Page and J. Ro. gers, in a style that would not discredit the most successful practitioners.

The contents of the present number comprise the following pictures: Plate 1. The Vision of the White Horse, after P. J. de Loutherbourg.

2. A Peasant Girl, after Rembrandt. 3. A Storm, after Vandervelde. 4. A Toper, after Van Ostade. It will be seen by the subjects enumerated that they are extremely various in their nature, and therefore offer difficulties of some magnitude to any single artist to surmount, for we often find that though an engraver may be first-rate in a particular branch, yet if he travel from his line of business, he seldom or ever comes off more than second-best; but this is not the case in the present instance, for no less than three of the subjects (Nos. 1, 2, 3,) are performed by one hand, J. Rogers, and in a manner so masterly, that there is nothing to be wished for.

The Peasant Girl of Rembrandt, by him, is a lovely picture, beaming with expression. The Sea Piece, one of much brilliancy, is cleverly managed, the lights and shades are extremely skilful, and nothing can be more effective than the representation of the liquid element rising almost mountain high over the dismasted bark. Of "The Toper's" likeness, we have only room to say, that it is faithfully transferred, with all that due attention to the picturesque which so eminently cha

T. M'Cormick.

racterises the sober style of the Dutch and Flemish Masters.

The Vision of the White Horse is a spirited and fearful composition, and well portrayed, but we think a piece might have been selected from among the performances of Loutherbourg better calculated to show the artist's excellence. Though he painted with great felicity all kinds of subjects, yet landscape was his forte, and we wish to that particular branch the attention of the proprietors of the work before us had been given. The Vision, taken as a whole, is good, but it is faulty, very faulty in drawing, especially in the horse and the rider in the back part of the picture.

We cannot conclude our notice of this publication without awarding it our fullest meed of praise; it is worthy the attention of the public, and deserving of a place in the portfolio of every tasteful collector.

Notices of New Books.

A Compendium of Astronomy and an Astronomical Dictionary for the use of youth of both sexes. By R. P. Linnington. 1 vol. 12mo.

WE are decidedly among those who think that the celestial science should form a primary branch in the education of youth; for a knowledge of the universe, the motions of the heavenly bodies and of the laws they are governed by, is of the greatest importance.

We have numerous treatises upon this sublime science, but there are scarcely any which are not too obstruse to put into the hands of the youthful student, even the justly esteemed works of Long, Fergusson, Vince, and Keill, with many others that might be mentioned, are wanting in simplicity and perspicuity; besides most of the works we possess, have been written too long to afford that information so essentially requisite to suit the present advanced state of the science; we are, therefore, well pleased to find a compilation made like the one before us, which is eminently calculated to render the important truths manifest by Astronomy, familiar to those wanting in opportunity to study more ample works.

The author of the treatise under notice, has performed his task with great judgment and ingenuity; every branch of the science is set forth clearly without being encumbered with mathematical calculations. To his abridgment the writer has wisely added a useful dic

* Whittaker and Co.

tionary of the terms used in the science, comprehending such a fund of valuable information as is only to be arrived at by consulting numerous works. In short, we have perused many volumes written for the same end as the "Compendium," but never found one where the design has been so ably fulfilled; we earnestly recommend it as a complete multum in purvo.

The Nate Book.

I will make a prief of it in my Note-book. M. W. of Windsor.

MULCTS OR FORFEITS.
For the Olio.

The peculiar application of fines once administered by our forefathers in a summary way, would admit of variation in one day, and render it difficult of prac tice. For instance:-He that kicked his neighbour with his foot paid five shekels; he that smote him with his thigh, paid three shekels; he that bent his fist and smote him, paid thirteen shekels; if he smote him with the palm of his hand, one shekel. If he wrung him by the ear, or plucked off his hair, or spat on him, he paid 100 shekels. And thus he paid for every time he did it; as if he kicked him four times following, twenty shekels and ten for the rest. He that frightened his neighbour, though he fell sick through fear, was free from men's judgment, but guilty to his Maker. To wit: if he touched not his neighbour, but made a noise behind him, or appeared in a dark place, or the like. So, if he made a noise in his ear, and deafened him, he was freed or culpable in the same degree. But, if he struck him on the ear, made him deaf, or touched him, or took hold of his garments, then he was to pay for it, JOIDA.

DESCRIP LION OF A PACK OF CARDS CON

Three of Hearts-Dr. Oates discovereth Gauan in the lobby.

Four of Hearts-Coleman giveth a guiny to incourage ye four ruffians.

Five of Hearts-Dr. Oates receiues letters from the fathers to carry beyond sea. Six of Hearts-Coleman drawn to his execution.

Seven of Hearts-Coleman examined in Newgate by severall lords.

Eight of Hearts-Coleman writeing a declaration and letters to La Chess.

Nine of Hearts-The seizing severall conspirators.

Ten of Hearts-Mr. Langhorn delivering out commissions for several officers. Knave of Hearts-The Irish ruffians going for Windsor.

Queen of Hearts-Mr. Everard imprisoned in the Tower.

King of Hearts-Dr. Oates discovereth ye plot to ye king and councell. (To be continued.)

POPISH PLOT IN EFFIGY.

(For the Olio.)

was the subject of their conversation, each being anxious to learn what benefit Session of Parliament. How long have the people would derive from the present they been sitting? asked the farmer, as he

entered the kitchen with his neighbour.

he meant the poultry, "Devil take the Sitting!" exclaimed his wife-thinking whole brood! they have been sitting too long! I suppose we shall have another addled job of it!"

EPIGRAM. For the Olio.

By scenic rules a Tragedy precedes,
And Momus follows healing that which bleeds,
Life's the reverse,-whatever plot is cast,
MAN plays his part in Tragedy at last. P. J. R,