confufion will be avoided, which arifes from not diftinguishing the Latin feminine fingular from the neuter plural; and by using ftipule for ftipula, we fhall no longer hear of a leaf-ftalk or petiole having two ftipula. But whatever allowance may be made in fingular terminations, the plurals must certainly follow the analogy of the English tongue; and if we tolerate corolla and anthera, neciarium and precarpium, we cannot poffibly allow of corolla and anthera, neti aria and pericarpia; but we must ufe either corollas or corals, antheras or anthers, nectariums or nectaries, pericarpiums or pericarps, according as we preferve the original term entire, or anglicize it. "All derivatives and compounds ought to follow the analogy of the original words from which they are derived, or of which they are compounded. Thus from corol we regularly form coroliet, as from crown, coronet if we adopt the terms · prickle and thorn, we must use the adjectives prickly and thorny, not aculeate and fpinofe: from glume we form glumeje; from ament, amentaceous; from awn, awned and awnlefs; from axil or axilla, axillary; from pinna, pinnate, bipinnate, &c. from calyx are formed calycle, calycled, calycine; frompetal, aniker, berry, we make the compounds five-petaled, anther-bearing, berry-bearing, not bacciferous; from cell, two-celled; from leaf, two-leaved; from jeed, two-jeeded. "Without, however, entering too much into the minuteneffes of this fubject, fuffice it to remark, that when we admit terms of art or fcience to participate in the rights of citizens, they fhould put on our garb, and adopt our manners. If this rule had always been observed, our language would not have been deformed with innumerable barbarifms, which learned and unlearned ignorance have joined to introduce among us; and which nothing but the conftant habit of speaking or hearing them, can ever reconcile to our ears *. "It would be easy to add many more obfervations, but it is not my defign to exhauft the fubje&t. Í have addreffed these curfory remarks to you, fir, as being at the head of a fociety, one of whofe principal views is to promote Englifh botany; in hopes that fome member of the fociety, who has more leisure than myself, may turn his thoughts to the fubject, and handle it fo fully, that all of us who are engaged in the fame purfuit, may speak the fame language. 1 am, Wefiminfier, 08. 5, 1789. Sir, &c. THO. MARTYN." Such are per cent, per-annum per-pound, and per-poft ; ipfo-fatio, minutiæ, data, errata, in vacuo, vice versa, plus et minus, vis inertia, in equilibrio, jet-d'eau, aqua fortis, aqua vita, ignis fatuus, cæteris paribus; equivoque, critique, je-ne-feai-quoi, fcavoir vivre, outré, et cetera, et cetera, et cetera ---It fhould feem that the mercantile world, the learned world, and the fashionable world, had formed a co fpiracy to debafe our fterling English by ill-made terms, affectedly introduced without the lealt neceflity." SKETCH SKETCH of the CHARACTER of MICHAEL ANGELO, as a [From Sir Joshua Reynold's Difcourfe, delivered to the Students of the THE દા HE fudden maturity to which Michael Angelo brought our art, and the comparative feebleness of his followers and imitators might perhaps be reasonably, at leaft plaufibly explained, if we had time for fuch an examination. At prefent I fhall only obferve, that the fubordinate parts of our art, and perhaps of other arts, expand themselves by a flow and progreffive growth, but thofe which depend on a native vigour of imagination generally burft forth at once in fullness of beauty. Of this Homer probably, and Shakspear, more affuredly are fignal examples. Michael Angelo poffeffed the poetical part to a moft eminent degree; and the fame daring fpirit, which urged him first to ex plore the unknown regions of the imagination, delighted with the novelty, and animated by the fuccefs of his discoveries, could not have failed to ftimulate and impel him forward in his career beyond thofe limits which his followers, deftitute of the fame incentives, had not ftrength to pass. "To diftinguish between correctness of drawing, and that part which refpects the imagination, we may fay the one approaches to the mechanical (which in its way too may make just pretenfions to genius) and the other to the poetical. To encourage a folid and vigorous courfe of study, it may not be amifs to fuggeft that perhaps a confidence in the mechanic produces boldnefs in the poetic. He that is fure of the good nefs of his hip and tackle puts out fearlefly from the fhore; and he who knows, that his hand can execute whatever his fancy can fuggeft, fports with more freedom in embo. dying the vifionary forms of his own creation. I will not fay Michael Angelo was eminently poeti cal, only because he was greatly mechanical; but I am fure that mechanic excellence invigorated and emboldened his mind to carry painting into the regions of poetry, and to emulate that art in its most adventrous flights. Michal Angelo equally poffeffed both qualifications. Yet of the former there were certainly great examples to be found in ancient fculpture, and particularly in the fragment known by the name of the Torfo of Michael Angelo; but of that grandeur of character, air, and attitude, which he threw into all his figures, and which fo well correfponds with the grandeur of his outline, there was no example; they could therefore proceed only from the most poetical and sublime imagination. "It is impoffible not to express fome surprise, that the race of painters who preceded Michael Angelo, men of acknowledged great abilities, fhould never have thought of tranfferring a little of that grandeur of outline which they could not but fee and admire in ancient fculpture, into their own works; but they ap pear to have confidered fculpture as the later fchools of artists look at the inventions of Michael Angelo, as fomething to be admired, but with which they have nothing to do. Lyod Quod fuper nos, nihil ad nos.-The artifts of that age, even Raphael himself, feemed to be going on very contentedly in the dry manner of Pietro Perugino, and if Michael Angelo had never appeared, the art might still have continued in the fame ftile. "The fublime in painting, as in poetry, fo overpowers, and takes fuch a poffeffion of the whole mind, that no room is left for attention to minute criticism. The little elegancies of art in the prefence of thefe great ideas thus greatly expreffed, lofe all their value, and are for the inftant at least, felt to be unworthy of our notice. The correct judgment, the purity of tafte, which characterife Raphael; the exquifite grace of Corregio and Parmegiano, all disappear before them. "That Michael Angelo was capricious in his inventions, cannot be denied; and this may make fome circumfpection neceffary in ftudying his works; for though they appear to become him, an imitation of them is always dangerous, and will prove fometimes ridiculous. "In that "dread circle none durft tread but "he." To me, I confefs, his caprice does not lower the estimation of his genius, even though it is fometimes, I acknowledge, carried to the extreme; and however thofe eccentric excurfions are confidered, we muft at the fame time recollect, that thofe faults,, if they are faults, are fuch as never could occur to a mean and vulgar mind; that they flowed from the fame fource which produced his greatest beauties, and were therefore fuch as none but himfelf was capable of committing; they were the powerful impulfes of a mind unused to fubjection of any kind, and too high to be controled by cold criticifm. "Many fee his daring extrava garice, who can fee nothing else. A young artist finds the works of Michael Angelo fo totally different from thofe of his own mafter, or of thofe with whom he is furrounded, that he may be eafily perfuaded to abandon and neglect ftudying a ftile, which appears to him wild, rayfterious, and above his comprehenfion, and which he therefore feels no dif pofition to admire; a good difpofition, which he concludes that he fhould naturaily have, if the ftile deferved it. It is neceffary therefore that ftudents fhould be prepared for the disappointment which they may experience at their first fetting out; and they must be cautioned, that probably they will not, at fift fight, approve. "It must be remembered, that as this great stile itfelf is artificial in the highest degree, it prefuppofes in the Spectator, a cultivated and prepared artificial ftate of mind. It is an abfurdity therefore to fuppofe we are born with this tafte, though we are with the feeds of it, wnich by the heat and kindly influence of his genius, may be ripened in us. "A late philofopher and critic has obferved, fpeaking of tafte, that we are on no account to expect that fine things should defcend to us, our taste, if poffible, muft be made to afcend to them. The fame learned writer recommends to us even to feign a relish, till we find a relish come; and feel, that what began in fiction, terminates in reality. If there be in our art, any thing of that agreement or compact, fuch as I apprehend there is in mufic, with which the critic is neceffarily required previoufly to be acquainted, in order to form a correct judgment; the comparifon with this art will illuftrate what I have faid on these points, and and tend to fhew the probability, we may say the certainty, that men are not born with a relifh for thofe arts in their most refined ftate, which as they cannot understand, they cannot be impreffed with their effects. This great file of Michael Angelo is as far removed from the fimple reprefentation of the common objects of nature, as the most refined Italian mufic is, from the inartificial notes of nature, from whence they both profefs to originate. But without fuch a fuppofed compact, we may be very confident that the highest state of refinement in either of those arts will not be relifhed without a long and induftrious attention. "In pursuing this great art, it must be acknowledged that we labour under greater difficulties than those who were born in the age of its difcovery, and whofe minds from their infancy were habituated to this ftile, who learnt it as language, as their mother tongue. They had no mean tafte to unlearn; they needed no perfuafive difcourfe to allure them to a favourable reception of it, no abftrufe investigation of its princi ples, to convince them of the grea latent truths on which it is founded. We are constrained, in thefe later days, to have recourfe to a fort of grammar and dictionary, as the only means of recovering a dead language. It was by them learnt by rote, and perhaps better learnt that way than by precept. The tile of Michael Angelo, which I have compared to language, and which may, poetically speaking, be called the language of the Gods, now no longer exifts, as it did in the fifteenth century, yet with the aid of diligence, we may in a great measure fupply the deficiency which I mentioned, of not having his works fo perpetually before our eyes; by having recourfe to cafts from his models and defigns in fculpture; to drawings or even copies of thofe drawings; to prints, which however ill executed, ftill convey fomething by which this tafte may be formed; and a relifh may be fixed and establifhed in our minds for this grand ftile of invention." OBSERVATIONS on CLUMPS and PARK SCENERY, relative chiefly to PICTURESQUE BEAUTY. [From the first Volume of Remarks on Foreft Scenery and other Woodland Views, &c. By William Gilpin, A. M.] แ WHAT HAT number of trees make a clump, no rules of art prescribe. The term has rather a relative meaning. In fcenes, brought near the eye, we call three or four trees a clump. But in diftant and extenfive fcenery, we fcruple not to use the term for any fmaller detached part of a wood, though it may confift of fome hundreds.-But though the term admits not of exact definition, I fhall endeavour by amplifications, to make the ideas contained under it, as diftinct as I can. "We diftinguifh then two kinds of clumps; the smaller, and the larger; confining the former chiefly to to the foreground; and confidering the latter as the ornament of a dif tance. "With regard to the smaller clump, the chief beauty we expect here, arifes from contraft in the parts. We have feen that in fingle trees, each must have it's characteristic beauty. It has nothing elfe to depend on. But in combination, the beauty of the individual is not required; the whole clump together muft produce the effect. "To enumerate all the fources of beautiful contraft, which contribute to produce this effect, might be difficult. I fhall curforily fuggeft a few. "In the first place the relative fituation of trees, with regard to each other, fhould be confidered. Three trees, or more, standing in a line, are formal. In the natural wood, you rarely fee this formality. -And yet even three trees in a line will be greatly affifted by the lines of the feveral trunks taking different directions; and by the various forms, diftances, and growth of the trees. "If three trees do not stand in a line, they muft of course stand in a triangle; which produces a great variety of pleafing forms. "If a fourth tree be added, it ftands beautifully near the middle of the triangle, of whatever form the triangle, may be. If it be equilateral, and the tree placed exactly in the middle, there are three points, as you walk round the triangle, from which it will appear offenfively regular. Remarks however of this kind affect only young trees, while their ftems are tall, and fimilar. As they increase, their different modes of growth-the fwelling of their roots -the habits they contract from wind -their ramification-their lateral branches, and other accidental circumftances introduce endless varieties among them; and blot out many of thofe little formalities, which attend their youth; though, after all, the artificial clump will rarely attain the beauty of the natural one. "If the clump consist of still more trees than four, a greater variety among the ftems will of courfe take place-double triangles, irregular quincunxes, and other pleasing fhapes, which may be feen exemplified in every wood of natural growth. "The branches also are as much a fource of contraft, as the stem. To be picturefque they muft intermingle with each other without heaviness they must hang loosely, but yet with varied looseness on every fide-and if there be one fuperior apex, there may be two or three others, that are fubordinate, accord, ing to the fize of the clump. "Different kinds of trees alfo, in the fame clump, occafion often a beautiful contraft. There are few trees, which will not harmonize with trees of a different kind: though perhaps the moft fimple, and beautiful contrafts arise from the various modes of growth in the fame species. We often fee two or three oaks intermingle their branches together in a very pleafing manner. When the beech is full grown, it is generally, (in a luxuriant foil at least,) fo heavy, that it rarely blends happily either with it's own kind, or with any other. The filver-fir too, we have obferved, is a very unaccommodating tree.-So alfo are other firs; indeed all that taper to a point. Not fo the pine-race. They are clump-headed; and unite well in compofition. With these alfo the Scotch-fir leagues; from little knots of which we often fee beautiful contrafts arife. When they are young, and luxuriant, efpecially if any number of them above four, or five, are planted |