Mr. URBAN, Feb. 5. THE HE College of Phyficians, in their laft Difpenfatory, altered the name of the preparation of tin, fulphur, falammoniac, and quickfilver, from aurum Mofaicum to aurum mufivum, as I apprehend, without a juft foundation. For I do not imagine that this compofition hath any connexion with that kind of teffelated work corruptly called Mofaic, instead of mufaic or mufive, from the Greek word μarov. These chequered pictures have certainly nothing to do with Mofes, or any of the Hebrews, as the name now erroneoufly implies. On the other hand, when I firft faw this medicine, which fo greatly refembles gold in powder, I concluded, that the inventor had obviously denominated it Mofaic gold from the following paffage : "And Mofes took the (golden) calf which they had made, and burnt it in the fire, and ground it to powder, and strawed it upon the water," Exod. xxxii. 20. A procefs, however, beyond the power of modern chemistry, and therefore likely to dwell the ftrong. er on the mind of the operator. Had the early practitioners of the hermetic art always found titles fo applicable, it would have prevented their fcience being difgraced with much unmeaning jargon, and involved in much needleis obfcurity. I mention this circumflance of the impropriety of changing the term aurum Mofaicum into aurum mufivum as a probable conjecture only; for he who peremptorily contradicts the learned Pemberton ought to produce the most decifive evidence. Perhaps it is not generally known to your readers, that Mofaic gold, fixed on the rubber with a small quantity of mercurial ointment, is the best inciter of electricity yet difcovered, even fuperior to the amalgamas made of tin, or zinck, and quick filver. T. H. W. P. S. At p. 313, col. 1, of your laft vol. inftead of "tree-worship," read "free-worship." In p. 860, col. 2, by the omiffion of the word to, the fenfe of a paffage is totally perverted. "Thrieing timber, while vigorous, increases in value 10 or 15 per cent. in a year; but the progress is fo gradually flackened, that, before it totally ftops, the annual growth decreases to two or three per cent. fo that the profitable time to cut timber is, when the growth ceases to exceed the intereft of money." P. 861, col. 1, “an abstinence from fome of thefe animals as to food," dele to. POSSIBLY fome of your numerous readers may be able to explain the following hiftorical paradox, for fo it appears to me, after having tried in vain every method I could think of for accounting for the fact here ftated. Mr. Rapin, in his Acta Regia, p. 151, tranfcribing from Rymer, fays, "And yet in November laft (that is, 1337) he (Edward III.) had fent the Bishop of Lincoln, and the Earls of Narthampton and Suffolk, with 10,000 facks of wool into Brabant, to make retainers in High Germany; and there, at the fame time, they fold all their wool, every fack for forty pounds, which amounted in all to 400,000l. That the price of English wool in former times was higher than it has been for a century paft, was a fact I well knew; but that it ever fhould have fold at the enormous price here. ftated, appeared to me impoffible; fo that I think there must be here fome miftake that I cannot account for. That a juft idea of the amount of the fum here fpecified may be obtained, your readers will pleafe to advert, that, in the year 1337, a pound fterling contained 5262.22 grains of pure filver, and that a pound sterling at prefent contains only 1718.7 grains of pure filver, `confequently 401. in 1337, contained as much pure filver as 1221. 95. 3d. at prefent. And as Mr. Hume computes that the value of filver, at the beginning to hold in this enlightened age! when knowledge of what they are pleased to call VICE is fo much in fathion; and, among the young, it is the only know ledge valued, or even talked of-nay, alfo among those who are no chickens! Indeed, a young perfon cannot remain long ignorant in your improving state of police and manners; and all preceptors, as well as myfelf, fay, that the more a young perfon knows, fo much the better. By the former fyftem, a young perfon's taste and principles were formed before he became a man-he had fources of elegant entertainment within himself -a relish was formed for the acquifition of knowledge from works of geniusthe study of nature-the purfuit of moral fcience-the fine arts, &c. while frivolous amufement and diffipation were held as unmanly and unworthy. But how much fuperior to all thefe is the prefent early knowledge of life!-The purfuit of a hare or a fox-or of an ho neft man's wife or daughter-a tafle for I making at champaign cards-horfe-racing-cock-fighting tavern parties-and, above all, the divine culinary fcience! This is to live! -the other was to think--and which, I pray you, has the better bargain?. Every fine fellow will tell you, if you are doubtful. that they might be BOYS all the reft of the miffes: but now, before they have Some moral writers (who, by the way, I am glad to fee fo little attended to,) boldly affert, that IGNORANCE OF VICE IS THE SUREST GUARDIAN OF VIRTUE. This is ftrange doctrine As you have hitherto been very indulgent to me, I will not opprefs you with a long letter at prefent, but profe cute the steps of fashionable education in my next. I am, &c. BELZEBUB. (To be continued.) Mr. URBAN, Feb. 5. ENTION having been made in a former paper of eminent artifis, who flourished during the golden age of Grecian rafte, it may not be improper to collect from ancient authors, viz. Paufanias, Strabo, Plutarch, Dionyfus, Pliny, and others who are cited by Junius, &c. fome few particulars refpecting those artifts. Pananus or Panæus is, by Paufanias, called the brother, by Strabo, the coufin, of Phidias. His principal work was the Battle of Marathon, in which painting the Athenian generals Miltiades, Callimachus, Cynægirus, and the Barbarian commanders Datis and Artapharnes, were drawn after the life. Zeuxis is celebrated by Lucian for his art in difpofing of light and fhade: he is, however, reprehended by Arif totle totle for his inability in expreffing characters or mannere; a defect this very culpable in painting, which should be an Ηθοποιήίος τέχνη, "an art expreffive of the manners" as much as the Drama. Yet in his Penelope he was not deferving of this cenfure, fince Pliny exprefsly fays of that piece, "fecit et Penolopen, in quâ pinxiffe MORES videatur." We know too that his Helen, which he drew from obferving the feveral beauties of five the most admired virgins in Crotona, was an exquifite painting. From hence we might be led to conclude, either that Ariftotle did not mean the Zeuxis of Heraclea, or else that Zeuxis was but young in his art when the critic cenfured his want of character. That fine fubject, which Theocritus has handled in a manner far fuperior to the genius of Mofchus or Bion, the "Infant Hercules," was one, among others, chofen for the pencil of Zeuxis. In this picture, the boy Hercules was ftrangling the ferpents, his mother Alcmena and Amphitryon were Jooking on with fear and aftonishment. Zeuxis once was challenged by Parrhahus to try whofe fkill was fuperior. Zeuxis painted fome grapes fo naturally tha thet birds flew down to peck them. Parrhafius brought a linen cloth, drawn with fo much art, that Zeuxis defired him to move it afide in order that the picture underneath it might be feen. Parrhafius told him the deception; upon which Zeuxis, with that ingenuity which marks liberal minds, yielded the palm to his competitor, confeffing that Parthafius, who had deceived even him, was fuperior to himself, who had deceived only birds. On another occafion this painter drew a boy carrying fome grapes; the birds flew down to eat the fruit; but Zeuxis was displeased with his work, becaule (faid he) I have painted the grapes better than the boy : for, if the boy were properly finished, the birds fhould be afraid to come near him." This artift was remarkable for his diligence and induftry. Upon hear ing that Agatharchus boasted of the expedition with which he finished his picturcs, I (faid he) am a long time executing mine; for facility and hafte in executing give no permanent weight nor exquisite beauty to a work; but time and labour, employed in the production, tend much to the ftrength and conferva tion of the work produced. I paint for eternity." After having acquired great riches, he declined working for pay, but gratuitously difpofed of his pictures. to States and Princes. His "Alcmena" he gave to the Agrigentines; his "Pan" to Archelaus. It is faid, but on difputable authority, that he died in a fit of laughter at the fight of an old woman he had painted. This circumftance is improbable, as we cannot eafily conceive the fublime genius of Zeuxis would defcend to the mean employment of caricature or burlesque drawing. Famous as he was for painting female figures in the highest style, he would fcarcely degrade his fuperior abilities by a work of meaner rank. The paintings of Parrhafius were admired for their juft fymmetry, fprightly countenance, elegant hair, graceful look, and particularly for the foft outlines with which they were rounded. As this painter overcame Zeuxis, fo himfelf was excelled by Timanthes in a painting, the fubject of which was "The Contest of Ajax and Ulyffes for the Arms of Achilles." He was vexed at the fuccefs of Timanthes, faying, "he was grieved that Ajax should a fecond time be overcome by a competitor not equal to him." He drew many of the heroes celebrated in the early days of Grecian history, particularly thofe who lived about the Trojan times. Among others, the "Philoctetes" of Parrhafius is a fine image of hopeless wretchednefs, of confuming grief. The picture itfelf is happily defcribed by the epigrammatift, and the compliment to the painter has the elegance and fimplity peculiar to the Greeks: Και τον απο Τρηχινος ιδων πολυωδυνον ήρω οικεί Δακρυ, και ὁ τρυχων εντός ενός σονος. Ζωογράφων ο λωσε, σε μεν σοφος αλλ αναπαυσαι Аубра πονων ήδη τον πολύμοχθον εδεί. Antbol. lib. 4. cap. 8. Drawn by Parrhafius, as in perfon view'd, Sad Philoctetes feels his pains renew'd. In his parch'd eyes the deep-funk tears exprefs His endless mifery, his dire diftrefs. [mend; We blame thee, painter, though thy art com'Twas time his fufferings with himself should end. "We cannot well conceive an image more tender or more affecting than this." See Webb's Inquiry into the Beauties of Painting, p. 162. [The tafte of this writer is exquifite, and his remarks judicious. But the force force of the Greek epigram is loft in the tranflation. The original intimates the refemblance of the picture to be fo frong, that it is Philoctetes himself. The expreffive epithet xapor, and the appropriated verb ever, are not retained. GROTIUS is more fortunate: Vidit et hunc, credo, miferum Pæante crea tum Parrhafius, forma eft tam bene picta viri. Quippe SUBEST oculis ARENTIBUS ABDITA QUEDAM [AGIT. Lachryma, feque dolor tam ferus INTUS Eximium nemo te, pictor, in arte negabit: Definere illius fed mala tempus erat. One feels the tortures which wrack Philoctetes, on reading the third and fourth verses of the original.] Ariftotle commends Polygnotus as a painter of manners, character, paffions: and Pliny fays, he was the first who dloathed female figures with a thin and hining garment on their bodies, and dreffes of various colours on their heads. He very much improved portrait-painting, by opening the mouth enough to fhew the teeth, and by foftening the harth ftyle of countenance which was common in ancient pictures. The famous painting of the Battle of Maration, in which piece Miltiades ftcod the firit and molt confpicuous figure, was executed by Polygnotus, and was the chief ornament of the Пoxin. As this work was undertaken gratuitously, and performed nobly, the Amphy&tions, to reward fo liberal an artist in a generous and honourable manner, decreed that he should be entertained at the public charge. In the fame Ποικιλη (which took its name from the various pictures with which it was decorated) did Micon alfo paint, but not gratuitously; and therefore was lefs honoured than Polygnotus. For another reason also he was probably cenfured by the Athenians; he drew the Perftans larger in figure than the Grecks, a circumstance which his countrymen would not observe but with a jealous eye. The general character of Timanthes is, that, in all his works, more is always understood than expreffed; and, though his art in executing be great, yet his genius and conceptions exceed A proof of his invention is "The Sleeping Cyclops," in order to give an idea of whofe magnitude, he drew fome Satyrs standing near, and measuring the thumb of the Cyclops with a thyrfus. Tully, Quintilian, and Pliny, make mention of his celebrated picture, the "Sacrifice of Iphigenia at Aulis;" in which (fays Pliny) "when he had painted all the perfons prefent, and particularly the uncle, overwhelmed with forrow, and thus had exhaufted every image of grief, being unable to mark with fufficient force the look of aggravated woe, which the face of Agamemnon must wear, he covered the father's head with a veil." An expedient this, fometimes allowable, and indeed even admirable, in a painter of acknowledged genius, as Timanthes was; but not to be imitated by artists of inferior abilities. Euftathius thinks Timanthes was indebted for this happy contriva ce to the following paffage of Homer; in which it is faid of Priam, Ὁ δ ̓ εν μέσσοισι Γεραιος Εντυπως εν χλαίνη κεκαλυμμένος, Il. 24, 162. Which defcription probably fuggefted to Euripides the affecting circumitance of Agamemnon's concealing his eyes with the fkirts of his mantle, Aungua @gonγεν, ομμάτων πεπλον προθεις, Iph. Αul. 1550; and to fchylus the introducing of Niobe with her head veiled, and fi lent through grief. The fubject, which Timanthes fo well painted, is again drawn by Lucretius, with a pencil that has omitted no touches of nature whereby the piece might be rendered highly interefting and pathetic : Aulide quo pacto Triviai virginis aram Iphianaffai turpârunt fanguine fœdè Ductores Danäum, delecti, prima virorum. Cum fimul infula virgineos circumdata com ptus Ex utrâque pari malarum parte profufa eft, Et moeftum fimul ante aras adftare parentem Senfit,et hunc propter ferram celare miniftros, Afpectuque fuo lachrymas effundere cives ; Muta metu terram genibus fummiffa petebat. Lucret. 1, 85. On which paffage a critic, of the quicket difcernment and finest taste, remarks, Neither do I think that the defcription that immediately follows, of the facrifice of Iphigenia, was excelled by the famous picture of Timanthes-efpecially the minute and moving circum ftances of her perceiving the grief of her father Agamemnon, and of the priest's concealing his facrificing knife, of the fpectators bursting into tears, and her falling on her knees." Effay on Didactic Poetry in Warton's Virgil. Yours, &c. M. O. N. Mr. Mr. URBAN,' Feb. 2. TH HE royal licence in your laft, p 68, reminding me of a copy of the "Pharmacopoeia" of 1747, which formerly belonged to Dr. Stukeley, and is now the property of a medical friend; I have borrowed the book, to tranfcribe the following memoranda : "I have lived to fee two revifals of the Pharmaconia. WM. STUKELEY, 1749. "After I was in orders, I aflifted, Sept. 20, 1729, at the Michaelmas Comitia of the College, at choice of Prefident, Cenfors, and other officers. "Oct. 18. I was prefent at the Oratio and Convirium Harvearum, the Duke of Montague there. 25 June, 1739. I affifted and dined at the College of Phyficians, at the quarterly -Comitia. 22 Dec. 1742, affifted at the Comitia; was chaplain at dinner. "15 Sept. 1750, received a fummons to attend the Cronian lecture and fermon; which I preached." Prefixed to this edition of 1747, is a lift of the then Fellows of the College, as they food May 28, 1746; to which Dr. Stukeley had added in MS. the dates of most of their deaths as happened before his own, March 9, 1765 (thofe marked. being fince fupplied from old printed lifts). From that time they have been principally filled up by the prefent owner of the book. The whole lift is here copied, as containing a complete Obituary of the Phyficians of that period; of whom I believe Dr. Heberden to be the only furvivor. And may he long continue the ornament of his profeffion, of literature, and of human-kind! M. GREEN. Nomina Seciorum, Candidatorum, et Permifforum, Collegii Regulis Medicorum Londinenfis. Henricus Plumptre, Præfes, ob. 26 Nov.1746. Carolus Dux de Richmond, &c. 3 Maii, 17,0. Joannes Dux de Montagu, 5 Jul. 1749. Hans Sloane, Baronettus, Med. Reg. 11 Jan. 1753. Tancred Robinfon, Eleft. 29 Marc. 1747-8. Gideon Harvey, Elect. Med. Reg. ad Turrim. 24 Apr. 1755, æt. 90. Thomas Crowe, 11 Aug. 1751. Johannes Shadwell, Eques Auratas. [Qu.?] Johannes Gardiner, Elect. 18 Mali, 1748-9. Richardus Mead, Elect. Med. Reg. 16 Feb. 1754. * Dr. Ambrofe Dawfon (admitted into the College in 1736), Dr. R. Plumptre (in 1739), are alfo in the laft lift of the College, dated Oct. 1787. EDIT. Richardus Tyfon, Elect. et Thefaurarius, Gulielmus Barrowby, Oct. 17:8. Edvardus Wilmot, Med. Reg. Nov. 21, 1786, æt. 92. Johannes Bamber, 7 Nov. 1753. Johannes Newington, Jan. 22, 1771. Matthæus Clarke, Nov. 24, 1778. Carolus Chauncy, Dec. 25, 1777. CANDIDATI. Arnoldus Boot Beirman, Mar. 1754, æt. 81. Richardus Manningham, Eq esAuratus, 1759€ Jacobus a Caftro Sarmento, Sept. 17624 •Francifcu |