ART. XVI. Letters on exceffive Taxation. From a Philanthropifi, to his Royal Highness George Prince of Wales, the Right Honourable William Pitt, firft Lord of the Treafury, and Chancellor of his Majefty's Exchequer; and several other Noblemen of the firft Diftinction: with an Address to the People of Great Britain. 8vo. 2s. 6d. Printed for the Author, and fold by Fryer, London, 1785. THE philanthropist is one of that numerous fpecies of men, whose schemes for diminishing, or paying off the national debt, amuse the idle for a day, and then fink into oblivion. He speaks highly of his own noftrum. "I will bind myself, fays he, under the fevereft penalty, to find refources that shall remove every obnoxious tax, diminish the enormous debt, and establish a system that will prevent in future its accumulation, even in war. Incredible as this may appear, I will answer for its fuccefs: I neither require honour, or emolument, I only afk your fupport." We have given the appellation of noftrum to his fcheme, becaufe, like the medical quack, he folicitoufly keeps the ingredients of his panacea from public infpection. In his concluding letter to Mr. Pitt, he finishes with faying," The plan I have the most fanguine hope of is by far more eligible, and may be put into practice without much difficulty, though I cannot communicate it in writing." Of its merits therefore we can form no judgment, and of courfe cannot decide. We can only fay, that, unless his talents for finance infinitely excel his literary accomplishments, all trust in the philanthropift must be at an end. There is an odd enthusiasm in this publication, not calculated to give the most favourable impreffions with refpect to the understanding of the author, though it ftrongly marks the warmth and benevolence of his heart. ART. XVII. Account of the prefent State and Arrangement of Mr. James Tafie's Collection of Pafies and Impreffions from ancient and modern Gems: With a few Remarks on the Origin of engraving on hard Stones; and the Methods of taking Impreffions of them in different Subftances. By R. E. Rafpe. London. 1785. No Bookfeller's Name. UR countryman, Mr. Taffie, has been long diftinguished for the fuperior perfection to which he has brought his imitation of gems. His paftes are in the highest request over Europe, and the abilities of the ingenious artift rewarded with the warmest and most general approbation. To merit the pubJic applaufe, his endeavours have been equally indefatigable and fuccessful. His former catalogue amounted to 3106 numbers; numbers; but it is now increased to above 12,000, and forms the most complete collection that is any where to be met with, as it is an accumulation from the most remarkable cabinets, both in this kingdom, and on the continent. A collection of this kind is, by most people, confidered merely as a fubject of curiofity; but, when placed in its true light, it must be esteemed an object of much higher importance. It is a fource of the pureft knowledge to the fealengraver, the painter, and the ftatuary. It is one of the best affiftants in the study of hiftory and antiquities; and, in many respects, will be found a most useful handmaid to philofophy. It improves the tafte, and enlightens the understanding. Thefe advantages did not escape the ftrong and penetrating mind of the prefent Emprefs of Ruffia, as will appear by the following extract from the pamphlet now before us. These fingular and obvious advantages, in number, variety, and contraft, of ancient modern works, have always been held in their proper estimation by the most enlightened connoiffeurs, and seem to have been seen in their proper light by her Imperial Majefty the Emprefs of Ruffia; for, fome time ago, her majefty was graciously pleafed to avail herself of them, and to order, that a collection fhould be formed of perfect and durable impreffions of ancient and modern gems, as complete and numerous as poffible; fecondly, that the gems from which they are taken, whether intaglios or cameos, fhould be executed in glafs paftes, exactly imitating the refpective colours of the originals; thirdly, that the collection fhould be scientifically arranged in fuitable cabinets; and, fourthly, described in a correfponding catalogue, in which notice fhould be taken of their respective fubjects, and all the particulars which can authenticate their hiftory, and point out their merit, to promote the study of antiquities, and the art of engraving.' A short abstract of the arrangement of this collection, will give the reader fome idea of the infinite variety it contains. It naturally divides itself into ancient and modern engravings. Under the first head are arranged Egyptian hieroglyphics, facred animals, divinities, and priests. Batilidian, Gnoftic and other abraxas, talifmans and amulets, oriental and barbarous engravings. Greek and Roman originals, copies and modern imitations. The Greek and Roman engravings are fubdivided into, ft. Mythology, or fabulous age, including the gods and inferior divinities, with their attributes, religious ceremonies, priefts, &c. &c. 2dly. Heroic age, before the fiege of Toy. 3dly. Siege of Troy. 4thly. Hiftorical age. This is fubdivided into the hiftory of Carthage, of Greece, of Rome, and historical subjects unknown. The first great divifion concludes with fabulous animals and chimeras, vafes, and urns) Under Under the head of modern engraving, we are prefented with, ft. Religious fubjects of the Old and New Teftament, legends, and Chriftian allegory. 2dly. Portraits of kings and fovereigns. 3dly. Portraits of illuftrious and celebrated perfons, in alphabetical order. 4thly. Portraits unknown. 5thly. Devices and emblems; and, laftly, cyphers, arms, fupporters, and a medley of modern hiftory. From this imperfect sketch of the arrangement, it will be eafily feen what a fund of amufement and inftruction is accumulated for the public. For the information of our readers, we fhall transcribe the prices at which the various articles in the collection may be purchafed. For intaglio paftes, the fize of feals and rings, from 1s. Ed. to 2s. 6d. A beautiful imitation of a fine ftone is charged more, in proportion to its perfection. For large intaglios, according to the colour and fize, from 5s. to 218. • For cameos, according to fize and perfection, from los 6d. to 21S. Appliquées (that is to fay, heads or figures glued to false grounds) are only deceptions, unfafe to ufe as rings, bracelets, &c. being liable to fall off and break; therefore only proper as pleafing ornaments, or furniture; may be made from 5s. and upwards, according to fize. For relievo impreffions in white enamel, from gems, Is. 6d. to 55. From large gems bas-relief, portraits, &c. from 5s. to 215. not exceeding four inches diameter. Impreffions of this fize, in high relief, are charged in proportion to the difficulty. 6 Impreffions in red or other coloured fulphur, with neat gilt borders, felect number, 4d. each. For the whole collection, 3d. each.' Mr. Rafpe feems well acquainted with his fubject, and has compreffed much information within the fmall bounds of his pamphlet. We perfectly agree with him as to Mr. Wedgewood's paftes being made of clay, they can never enter into competition with those of Mr. Taffie. It is well known to artifts, and to every perfon in the leaft acquainted with these matters, that all mixtures of clay fhrink, and, what is worse, fhrink unequally; which muft neceflarily deftroy the fine antique contour, and, in every refpect, produce incorrect impreffions Mr. Taffie's compofition is not liable to this objection, and gives the most faithful and perfect reprefentation of the ori ginals. His copies may, in truth, be confidered as fac fimiles of all that is beautiful or curious in the works of engravers on gems, either in ancient or modern times. FOREIGN FOREIGN LITERATURE. ART. XVII. La Colere de Xantippe, ou l'Edit des Deux Femmes. Poeme du Roi, &c. Prix, 1 liv. 10 fols. 8vo. broché. A. Athenes, et se trouve a Paris, Chez Valleyre l'aîné. 1784. The Anger of Xantippe, or the Edict of the two Wives. A Dramatic Poem. ATHENS being depopulated by the plague, and a ruinous war, an edict was promulgated, by which every citizen was permitted to have two wives. The author of this drama, l'Abbé Parmentier, fuppofes that Myrto, the grand-daughter of Ariftides, piqued at the neglect of her lover Alcibiades, and taking advantage of the edict, offers herself as a fecond wife to Socrates, in whofe houfe fhe had been educated. This, as was to be expected, is not relifhed by Xantippe; and gives the author an opportunity of painting the jealoufy and violence of her temper. A fort of underplot, formed by the introduction of Euclid of Megara, gives him a further opportunity of delineating her character. The fanguinary Athenian edict against the citizens of Megara is well known. This conftrained Euclid to attend the lectures of the attic philofopher under the difguife of a female. Being difcovered in this difguife by the Grecian termagant, the mistakes him for a woman; fresh fuel is added to her jealousy, and his country being at the fame time difcovered, in a paroxym of rage, fhe denounces him as a public enemy to the fenate, Without entering further into the minutiae of the plot, it may be fufficient to say that the author means to paint the exceffes of paffion and jealousy, in the character of Xantippe, and to give us a picture of wisdom, calmnefs, and good fenfe, with a dafh of irony and fprightlinefs, in the perfon of Socrates. Myrto exhibits a strong and well-informed mind, combating against paffion and inclination. Alcibiades is an agreeable coxcomb, who has good fenfe enough to facrifice his follies to the poffeffion of an amiable and worthy woman. Lutece, the waiting maid, is a lively Gaul, with all the petulance of an abigail. Such are the chief characters in the drama. We can fee that the author has endeavoured to display them as much, and to contrast them as forcibly, as he could; his endeavours, however, have not been attended with any remarkable degree of fuccefs. Though there is fome intereft in the piece, and that it breathes a pure morality throughout, yet it is languid, and in most places deficient in the vis comica, the zeft and foul of comedy comedy. We fhall felect one of the leaft heavy paffages in the drama, as a fpecimen of the work; and that we may not be accused of doing injuftice to the author by a translation, we fhall give the extract in the original. Secr. Vous connoiffez, Xantippe, cet arrêt Quand, par le trifte effet de la peste derniere, Sacr. Ce réglement, ce décret, entre nous, Tout intérêt à part, comment le trouvez vous, Xant. Impertinent, abfurde, abominable, Socr. Bon, bon! cela n'eft pas croyable. Xant. Non: je ne ris point du tout. Xant. Par Junon! vous me pouffez à bout. Sofr. Tant pis. Xant. Pourquoi ? Socr. C'eft. Xant. Quoi? Socr. C'eft. Xant. Eh bien ? Socr. Mais, fans doute, Vous découvrez d'ici Xant. Je ne vois rien, j'écoute : Parlez. Socr. C'eft que l'époux, ma très-chere moitié, Xant. Socr. Marié. Xant. Certes! dans cette affaire Myrto fait voir un goùt bien extraordinaire. Secr. Car Secrà |