Why, when my bofom heaved the tender figh, Didst thou delufive prefs me to thy heart? Too conftant heart, will it avail thee now, That once the tendereft joys of love were thine; Since now the pleads a long forgotten vow, And at her lofs forbids me to repine. Still will I pour love's melancholy strain, While Philomel fhall echo back my lay; Love's tender note fhall footh my faddeft pain, Banish'd from thee and hope and cheering day. Still those soft scenes in fancy I'll prolong, That won my heart from apathy to thee; Far was the thought, when pity urged my tongue, That pity e'er would prove a balm for me, Ah, think not, Emma, I can love thee lefs, Can e'er forget the magic of thine eyes; Although thy charms my happier rival bless, And every hope within my bofom dies. I. G. IN THE VICAR AND HOUR GLASS. Gothic Churches you may view, Close by the Vicar's elbow placed, An Hour Glafs of motion true, With antique fculpture richly graced. It happened as, in Charles's days, Old Spintext thundered loud and deep, In orthodox and loyal lays, His wearied audience fell asleep, The Vicar stared, and thus exclaimed, "I'm fure the Quarter scarce has run ; "I looked before my text I named, "My Sermon just at Twelve begun!" You who perchance may read this rhyme, Will fee the caufe in all its force; He measured his Difcourfe by Time, They measured Time by his Difcourfe. CAIUS FITZURBAN. 222 WEAR WEARMOUTH BRIDGE, [WITH AN ENGRAVING.] N Tuesday, Aug. 9, 1796, this beau tiful ftructure was opened for the ufe of the Public, with a Grand Proceffion, and Mafonic Ceremonies, amidst an immenfe concourfe of people (com. puted at 50,000 perfons). The daily poft between Sunderland and Newcastle paffed along the bridge for the first time, This amazing piece of architecture meafures, in the fpan of the arch, 236 feet; in height, near 100 feet; and in breadth, 32 feet. The spring of the arch is only 33 feet, forming a very fmall fegment of a circle: it contains about 250 tons of iron; 210 tons caft, and the remainder wrought. The two piers, which fupport the iron work, are fo high, that fhips may pafs under the Bridge without lowering their mafts; and you pass over on a level with the ground on each fide. The piers are built of ftone. The foundation was laid on the 24th of September, 1793, attended by a fimilar proceffion. The Oration on that occafion was delivered by the Rev. Mr. Nesfield, Grand Chaplain; and the Sermon preached in Sunderland Church, by the Rev. Mr. Heskett, Chaplain of the Phoenix Lodge. Meff. Walkers of Rotherham, Yorkshire, prepared the iron work; and Mr. Wilfon, of Sunderland, was the Architect of the work; but the principle on which the bridge is conftructed, was invented by Mr. Burdon himself, (to whom a patent has been granted for the invention ), under "whose aufpices, and by whofe munificence, chiefly the prefent beautiful ftructure has been erected. Meliora colens VEDRÆ Feliciter fundamina pofuit Gulielmo Hen. Lambton, Armigero, Populique plurima comitante çaterva, IMITATED IN ENGLISH. When the mad fury of French Citizens, ROWLAND BURDON, Efq. To join the fteep and craggy shores With an Iron Bridge. He happily laid the foundation And the XXXIII. of the Reign An immenfe Concourfe of People. "My invention (fays the patriotic inventor, in his specification for the patent) confists in applying iron, or other metallic compofitions, to the purpose of constructing arches upon "the fame principle as ftone is now employed; by a fubdivifion into blocks eafily portable, answering to the key ftones of a common arch, which being brought to bear on each "other, gives them all the firmness of a folid stone arch; whilft, by the great vacuities in the blocks, and their respective distances in their lateral pofition, the arch becomes infinitely lighter than that of stone." EUROPEAN MAGAZINE AWEST VIEW of the IRON BRIDGE over the WEAR near SUNDERLAND Span 236 Feet, and height 100 Feet. Published by J Sewell Cornhill July 11796. An Oration on the occafion was delivered by William Nesfield, M. A. Provincial Grand Chaplain, as was a Sermon by John Brewster, M. A. Chaplain of the Lodge of Philanthropy, Stockton; and the Grand Mafter, Rowland Burdon, Efq. M. P. (whose contribution to the building, amounted to 19,00cl.) addreffed the Brethren in a fpeech, highly interefting. both from its manner and purport, in which he did ample juftice to Brother Wilfon, the Architect of the Work. His Royal Highness Prince William of Gloucefter, paft Grand Master, af fifted in the Ceremony. DESULTORY REMARKS ON THE STUDY AND PRACTICE OF MUSIC, ADDRESSED TO A YOUNG LADY WHILE UNDER THE TUITION OF AN EMINENT MASTER. Written in the Years 1790-1 and 2. 16. IT has afforded me great fatisfaction to find that my arduous endeavours to facilitate your progrefs in mufical knowledge have met with your full approbation: encouraged by fuccefs, I ball chearfully proceed in the task which I have undertaken, and continue to tranfmit to you fuch further thoughts as occur to me on the business which we have fur le tapis. And, first, I ftand pledged to make known to you a very celebrated character in the prefent fchool of Practice. High on the scale of eminence ranks the much-admired and much-extolled CELERIC, LE DIEU DE CLAVECIN the idol of all the Piano-Forte Volanie's of the age, and on whofe appearance "the many rend the fkies with loud applaufe." In the brilliant tile of play CELERIO is recherché in the extreme, and, as a flight-of-hand performer, an fait to a degree of luxuriance which none have yet attained, and wherein no one can exceed him. From the very lowest to the uppermost key, and back again, he is quicker than the eye can follow him, or the ear catch the founds produced in this flight des les doigts. Fafter than fwift CAMILLA fcours the plain, "Flies o'er th' unbending corn, and skims along the main." Next have we shake upon shake; double shake with the hands acrofs, the bais keys fit fingered with the left hand, the treble with the right, then, quick as lightning, the hands overcroffed, and the bafs tickled with the right; now, preftiffimo, cach hand reftored to its place, and, in a twinkling, again croffed under; and thus is the whole figure of 8 repeatedly manoeuvred by CELERIO with a dexterity and rapidity aftonishing to behold; his velo city of flight over the whole finger-board from right to left, from left to right, far exceeding that of a weaver's fhuttle when darted through the loom with the utmost expertnefs. Now, all this bocuspocus, this ambi-dexter work, is conftantly exercifed by CELERIO in every leffon before him: whatever its fubject or however the text may vary, ftill the fame appendages, the fame embellifhments, the fame circumvolutions of flourish and wire-drawn cadenzas, are invariably introduced by him to excite wonder and extort applaufe. In my very humble opinion, there is in CELERIO a great fameness of manner, The leffons which he delivers in public are very few in number, whence I conjecture his ftudies have not been very extenfive, and that he is not profound as a fcientific Musician. I regard him, therefore, but as a practical adept ia the manual part of his profellion, fo far as relates to Rapidity of Finger and wherein his right hand far excels his left. His Stile of Play, calculated wholly for momentary effect, and which can niake no impreffion, is, however, certainly the most elegant of that fpe-cies of performance. CELERIO is perfect in a fhake, open, clear, and continued; his adornments are light and airy, and his Cadences richly wrought with well-fancied ornament, and wellfuftained, though, in general, to a length that fates the Ear. But then, in whatever is executed by CELERIO, this Art-manual, this Legerdemain, this Finger alacrity, is ever predominant, and is the fole object of his attention; and this is evinced by thofe who frequently hear him, from the fame Traverfes, the fame Shakes, the fame Clofes, and the fame tricks of every kind; in fhort, the Ditto ever repeated, recur |