uniform, and even, produce a shoe capable of accomodating itself to the varied shapes of both feet. We may, therefore, beside the evils we have mentioned, add that of the shoe being always worn most on one side, notwithstanding every attention of the wearer to change the shoes frequently.

The shoe is divided into 1. the sole; 2. the upper leather. The sole is made of hardened leather, which being of considerable substance and strength, is incapable of assuming any other shape than what it has received from the workman.

The upper leather is composed of 1. the front, and 2. the quarters: the quarters finish 3. in straps, which are connected by a buckle, ribband, or tye, &c. The situation of this tie, or connection, is of consequence; when it is placed high, so that the whole foot is included in the shoe, the foot looks large and long, but, unless the wearer walks, ascending or descending, very much, this is the best adapted to the conformation of the parts. When the connection is very low, the shoe can hardly be held tightly on the foot: the quarters must bind the heel very closely, or the shoe will slip off the foot though but slightly pulled. The interval, as between E. and D. Fig. 1. is best, on the whole; and will be found so on going up a mountain, or a flight of stairs.

It results from these observations, that the shoe to suit an active man, should be of sufficient length to allow for the bending of the foot; the shoemaker, therefore, should measure the foot when flat on the sole, and again when bent, as in the act of walking. 2. Each foot requires a different last. 3. The true width of the foot should be taken across, from E. to D. Fig. 3., with a blunt pair of compasses, (or small calibers) that the proper swell of the foot may be ascertained.

Most shoemakers err in making the soles too narrow; expecting that the upper parts will give way, in order that they may appear without wrinkles, perfectly careless of whatever evils the wearer endures. Making the soles wider would counteract, in some degree, the injurious tendency of having only one last to both feet. 4. The toe of the shoe should be round, to afford space for all the toes of the foot. 5. It should be a little turned up, to pass more easily over small stones, &c. 6. The heel should never be high; it should be brought much more forward than is customary. 7. The upper leather and the quarters should be so disposed, that the buckle may be placed in the middle, between the first joint of the great toe D. and the instep E. Fig. 1. 8. These parts of the shoe should be made of soft, pliant, stuff: never of hard leather, or too much stretched on the last; for in this case it will shrink when worn, and will most cruelly pinch the foot.

Our author exposes the evils and dangers of high heels very fully as these are now exploded, we merely mention the dis-articulating the bones of the foot; stretching some of the muscles of the leg; affecting the mus cles of the spine, and even distorting the spine itself; also rendering parturition more difficult and hazardous to women of the upper classes, who have chiefly affected such dangerous distinctions, than it is to others, or than it need to be to them.

The inconveniencies attributed by our author to shoes badly made, are, 1. they cause callosities of the skin, 2. indurations, and 3. corns. For the cure of callosities, he recommends, 1. a good shoe. 2. Emplastrum e gummi, or of galbanum, or of green wax, and other emollient remedies. 2. A callosity, or kind of bulb, formed under the nails of the toes; sometimes it runs as deep as a quarter of an inch under the nails: a good shoe suffers these excrescences to subside; the plaisters mentioned before may assist: on no account touch them with any caustic. 3. Corns, says our author, are a disease of the greatest antiquity, and have been well described by the ancients: they usually appear on the prominent articulation of the toes; they begin with a small induration, the size of a pin's head, this increases till it becomes a "perpetual thorn, and causes a most horrible pain; which my readers may know, perhaps, by experience, much better than by the most exact description in my power to compose." Corns also come between those toes which rub against each other; and sometimes also, they invade the sole of the foot. A good shoe is the first remedy: after that, I know nothing better than Unguentum e ranis cum mercurio quadruplicato; of this a small plaister, retained by a larger of sticking plaister, and the whole bound on as convenient. Paulus Eginetus advises that they should be carefully rubbed with pumice stone, before the placing of any plaister: he recommends an application of atramentum kistoricum, which did not differ much from our writing ink, and contained a great proportion of vitriol: he also recommends cantharides. A pleasanter prescription, if effectual, is that of Marcellus (Med. Art. princip. Tom. II. p. 399). "The best remedy for curing corns which are occasioned by compression of the shoes, is to burn the shoes, and apply their ashes mingled with oil."-[In this vindictive medicament, if the astres possess no highly curative powers, the lubricating properties of the oil are far from despicable, applied with perseverance.]

Such, says M. C., are my reflections and remarks on the best form of shoes. Judge then, whether this subject, so trifling at the first mention of it, does not deserve to be treated with considerable attention. Deter,

N

B

EXPLANATION OF THE FIGures. Our first figure represents the bones of the foot in a state of rest, when placed flat on the ground. In which we observe the very considerable arch between B. and K. which does not touch the ground. The most noticeable joints are at E. and D.

Figure 2. represents the foot in the action of walking; the heel B. being raised from b. where it stood before. The pliancy of this foot appears most evidently at the articulation of the toes with the metatarsus, D. and d. From D. to E. rises very strongly, from E. to N. not so much. The point of resistance against the ground is d.; and K, also, if a great extension weight were supported. The

of the joints at d. K. is the cause that the interval d. b. now reaches no farther than C. It is evident, therefore, that the shoe which fitted precisely from A. to B. Fig. 1. will be too short for A. K. B. Fig. 2.

Figure 3. is a plan of the sole of the foot, which any person may procure by standing firmly on the ground, and drawing with a piece of chalk the outline of the foot on the ground. It will be seen that the inside B.N.E. has a considerable curvature inwards especially from N. to E. while the outside of the foot, on the contrary, assumes a rounding form, from B. to M. This contrariety can never be adequately accommodated by a last which is precisely the same on both sides.

TRAINING OF PIGEONS FOR MESSAGES.

An incident of the same kind as occasioned M. Camper's dissertation of which we have given an account, was the origin of the treatise of Michael Sabbagh the Arabian poet, entitled, The Messenger Dove more rapid than Lightning; a slight account of which may be seen Panorama, p. 81

He happened to be, some time since, in company with some French learned men, who were fond of Oriental literature, when Arabic poetry became the subject of their conversation. He was desired to give them an example of it, by composing two lines extempore; the subject of which was to be the message of a lover to his mistress, from whom he is separated. After a moment's reflection, he recited the following lines;

"Sweet Dove, hasten thy flight towards my be loved;

"Be quick in bringing back the answer; "For love has distracted my mind. "The paper of this billet is as dear to me as the

globe of my eyes;

"The characters which my hand has been tracing on it, are as precious to me as my eye-ball.

"Adieu, sweet and lovely messenger!"

The errand with which he had entrusted the dove drew the attention of the audience, and excited their liveliest curiosity; but as most of them refused to believe it was possible to educate and train a dove so as to induce her to carry a message, he determined, in order to remove their doubts, to compose a little work not only proving by historical and undeniable facts the wonderful sagacity of pigeons for that service, but also describing the most proper means of training them for it.

SOLEMN DANCING IN FORMER TIMES.

To the Editor of the LITERARY PANORAMA.

SIR,

Your observations on the origin of dancing, Panorama, p. 1018, in which you refer it to imitation, has very much struck my imagination; and I think the origin of pantomimical attitudes and expression may fairly be traced to the causes you have assigned. Whether you intend to pursue the inquiry any further, I do not know, but, being desirous of contributing my mite of assistance in that design, I wish to call your attention to the popularity of which the art of dancing could formerly boast in this nation; and the importance attached to it, as an indispensable acquisition among the grave and learned of our isle. I suppose that I need not recall to your memory, Sir, the instance of Lord Keeper Hatton, who danced himself into Queen Elizabeth's favour, beyond all his competitors; and of whom Gray writes, in his Long Story,

Full oft within the spacious walls,

When he had fifty winters o'er him,
My grave Lord Keeper led the brawls;

The seals and maces danced before him. His fine dancing was, in fact, the occasion of his promotion by that splendour-loving monarch; and we need not doubt, but that the good fortune which had attended the exercise of this qualification in him, contributed to the consideration in which such brawls and revels were held by the societies of lawyers at the time. They were not only permitted, they were enjoined, and fines were levied on those who refused to take their turns in performing them. What might be thought, in the present day, of the grave Lord Chancellor assisting at a public ball, among his brethren of the long robe, and with the Judges, sitting in judgment on similar performances of agility, may be more properly imagined than described. My present business is with the fact; and this is established, beyond doubt, by the archives of the Temple Societies, and by the unanimous consent of contemporary historians.

All-hallown, Candlemas, and Ascension day, were anciently kept at the inner Temple with great splendour: All-hallown and Candlemas were the chief for cost, solemnity, dancing, revelling, and music, and were con

ducted by a Master of the Revels: the order was as follows:

First, the solemn revels, after dinner, and the play ended, were begun by the whole house, judges, serjeants at law, benchers, and the utter and inner bar, led by the master of the revels: after this ceremony one of the gentlemen of the utter bar was chosen to sing a song to the judges, serjeants, or masters of the bench, which was usually performed, or in default of it was an amerciament. Then the judges and benchers took their places, and sat down at the upper end of the hall which done, the utter barristers and inner barristers performed a second solemn revel before them. This ended, the utter barristers took their places and sat down; and some of the gentlemen of the inner bar presented the house with dancing, which was called the post revels. These dances were continued till the judges or benchthought proper to rise and depart.

The revels and dancings continued the twelve days of Christmas, and each day after dinner and supper the senior master of the revels sung a caroll or song, and commanded other gentlemen then there present to sing with him and the company,' "very decently performed."

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These Christmassings lasted several days, and on each day the ceremony differed. The proceedings were regulated by a parliament expressly summoned, which having entered into a ،، solempne consultation," the result was communicated to the other members of the house by one of the senior benchers; the eldest butler was directed to publish the names of the various officers appointed for the occasion," and then in token of joy and good liking, the bench and company pass beneath the harth, and sing a caroil, and so to bouer."

Other formalities, too long to detail, succeeded the above, and the ceremony concluded with the actual hunting of a jor and a cat, with nine or ten couple of hounds round the hall, whose deaths terminated this very extraordinary and singular species of amuse

ment.

During these" revels," as they were very properly called, defaulters were to be committed to the custody of the lieutenant; but if they could make their escape to the buttery, and bring into the hall “ a manchet upon the point of a knife," they were free: for the buttery in this case was allowed for "sanctuary."

Lincoln's Inn had anciently its dancings or revels allowed at particular seasons, as well as the Temple, and that by the special order of the society. For it appears that, in 9 Henry VI. it was ordered, "that there should be four revels that year, and no more; one at the feast of All Hallown, another at

the feast of St. Erkenwald; the third at the feast of the Purification of our Lady; and the fourth on midsummer day; one person yearly elected of the society, being made choice of, for the director of these pastimes, called the master of the revels. But these sports were used long before that time, as appears by an order of council, made on Allhallown day, 8 Eliz. that the musicians, at the ancient and solemn revels (for so they were then called) should have their stipend increased, for their service on the two principal feasts; Allhallown tide and Candlemas ; that is to say, whereas they were wont to have for their service done, for Allhallown even, Allhallown day at noon, and Allhallown day at night, 3s. 4d.; that thenceforth they should have for their said service, at that time, 6s. 8d. and the like sum at Candlemas, having had but 3s. 4d. before.

Nor were these exercises of dancing merely permitted; they were insisted on. For, by an order made 6th Feb. 7 Jac. I. it appears, that the under-barristers were by decimation put out of commons, for example's sake, because the whole bar were offended by not dancing on the Candlemas day preceding, according to the ancient order of this society, when the judges were present;" with a threat, that if the like fault were committed afterwards, they should be fined, or disbarred.

I should be glad, Sir, if some of your correspondents would favour you with their thoughts on the policy of the taste diffused among the people by those reforming sovereigns Henry VIII. and Queen Elizabeth. I am inclined to think that we are not to attribute to their personal inclinations all the pomp which their Majesties affected; but that it was a political device, to attract the attention, discourse, and curiosity of the public. Could it be a succedaneum for the brilliant processions and the magnificent solemnities of Popery? By the opposition it met with from the puritans, I am sometimes inclined to fancy that this was the fact. And perhaps a contemporary writer may allude to the similar effect of the clerical exhibitions, when he tells us of the fairies

Their songs were Ave Maries; Their dances were processions. That the clergy should dance in the days of Chaucer, though, as he describes it, not much to their credit, appears from his Plowman's Tale :

At the wrestling and at the wake,
And the chief chantours at the nale,
Market beters, and medling make,
Hoppen' and houtin with hove and have.-

But we are not to suppose that all the dances of the time were brisk and lively. Sir John Hawkins has proved that some were grave and solemn; and has happily corrected a passage in Shakespeare's Twelfth Night, which had baffled the skill of former commentators. It stood thus-" then he is a rogne, and a pazzy measure paynim: I hate a drunken rogue."-But it appears that we should read, drunken rogue." The following is the "after a pazza mezzo, or a pavon, I hate a knight's note on the passage:

The pavan, from pavo, a peacock, is a grave and majestic dance. The method of dancing it was anciently by gentleinen dres. sed in a cap and sword, by those of the long robe in their gowns, by princes in their mantles, and by ladies in gowns with long trains, the motion whereof in the dance resembled that of a peacock's tail. This dance is supposed to have been invented by the Spaniards, and its figure is given with the characters for the steps in the Orchesographia of Thoinet Arbeau. Every pavin has its galliard, a lighter kind of air, made out of the former. The courant, the jig, and the hornpipe, are suffciently known at this day.

Of the passamezzo little is to be said, except that it was a favourite air in the days of Queen Elizabeth. Ligon, in his History of Barbadoes, mentions a passamezzo galliard, island played to him on the lute; the very which, in the year 1647, a padre in that

same, he says, with an air of that kind which in Shakspere's play of Hen. IV. was originally played to Sir John Falstaff and Doll Tearsheet, by Sneak, the musician there named.

This little anecdote Ligon might have by tradition, but his conclusion, that because it was played in a dramatic representation of the history of Hen. IV. it must be so ancient as his time, is very idle and injudious.-Passy-measure is therefore undoubtedly a corruption from passamezzo.

I take the pazza-mezzo to be either a dance of steps of middling slowness or some part of a dance, in which part most of the steps were of this description; as we have pas grave in the minuet.

But, I think this exercise was more practised among the public than we are at present aware of; possibly even to excess.

Whether our immortal poet did not glance at the good fortune of Lord Hatton, or at least at the general dancing humour of the times, I submit to your readers. Something of a sarcastic allusion appears to me to be intended in his qualifying Sir Andrew Aguecheek with expertness in dancing. I delight in