milk should be taken from the middle of the pail, and poured into the tube without froth, which is done by dipping a cream-pot below the froth and filling the tube from thence, after having struck off the froth with the blade of a knife. "Rich milk is not white but brown, as is evident by comparing the milk of different cows when in the glass tubes; by the colour of the milk a tolerable estimate may be made of its produce in cream. The richness of the cream may also be estimated by the colour of the cream floating on the tubes. The best Alderney cream has a yellow hue, almost as deep as the flower of the buttercup, while the cream of a Holderness cow fed upon sour grains is as white as chalk, as the cream separates itself. Rich milk first becomes white, and then takes a blueish hue. Every dairy woman knows that the first milkings of a cow are almost without cream, and that the last pint or half pint which is drawn from the udder with difficulty, is almost entirely cream; hence the necessity of filling the tube from the whole of the milk yielded by a cow; and it may not be an improper caution to stir it about with a spoon to mix the cream and milk more regularly together, before the tube is filled. "It is proper te observe, that the quantity of cream that floats upon the milk in Mr. Fane's glasses, cannot be obtained by the present imperfect method of setting milk in shallow vessels, and taking off the cream by skimming; the whole quantity may be gotten by setting the milk in deeper vessels, and drawing it from under the cream by a syphon; it is evident from this, that the present system of managing our dairies is capable of much improvement. Your humble servant, &c. H.S." LITHOGRAPHY. "THE art of printing on stone was first introduced into this country about fifteen years ago, by a person of the name of André, who obtained a patent for the invention, but which, of course, could not have been sustained, as the art had been long practised on the Continent. Several sketches were made by our eminent artists, and a periodical work was published by M. André, of impressions from stone, and which, on his leaving this country, was continued by Mr. Volwieler, his successor, who finding the profits fall short of his expectations, left this country some time since; and on his departure, a poor person of the name of Red of giving publicity to works on science, and in others, considerable sacrifices are made, in order to bring out works which, but for the expense of the engravings, might have yielded the author a return for his labours. It should seem, however, from the total want of encouragement this art has met with here, either that it is not fit to supply the place of copper-plate engravings, or wood-cuts, or that the difference of expense is so inconsiderable, as not to be of moment. It was said, that the engravers had united to prevent the art being brought into use in this country. It is however, of course, a matter of absurdity to suppose, that the few members of any particular trade, should be able to prevent the exercise of an art, by which that which is required, could be procured equally serviceable, at one tenth part of the price. The fact is, the art of printing on stone does not appear ever to have been practised in perfection in this country, as will appear by reference to the works after noticed. The short outline of the process appears to be as follows. A slab of white lias, (Bath stone) about an inch thick, is rendered perfectly level, and polished with fine sand, or some other substance, and this is drawn on with a pen, and a prepared liquid of the consistence of common ink, and with the same facility after this, the stone is washed over with a diluted nitric acid, which slightly corrodes that part of the stone which has not been drawn on with the pen (the liquid repelling the acid, having wax in solution); and the stone is then saturated with water, and the common printing ball is dabbed over it, as in type printing, and the ink adheres to such parts as have been drawn on, (the other parts of the stone being wet, repel the printing ink); the impression is then taken by passing the stone through a press, with a single cylinder. When the print is wished to resemble a chalk drawing, the stone is left rather rough, by using a coarser sand to polish it; and instead of ink and a pen being used, a prepared pastil, of the same substance as that with which the mixture used in drawing with a pen is made, is substituted, with which a drawing is made on the stone. From this, it appears, that the making the drawing on the stone, is accompanied by no more inconvenience than a drawing on paper with pencil or a pen: but as circumstances may render it inconvenient to make the drawing on the stone, there is a prepared paper, on which the drawing may be made, either with a pen or chalk, and which the printer can transfer on the stone; and this method has the advantage of reversing the drawing, by which means, the impression produced, corresponds with the original design. As it is difficult, even with a steel pen, to make a very fine line on the stone, where that is requisite, it is better to cover the stone over with a thin mixture of gum-water and lamp-black, and after it is dry, the design may be sketched with the point of an etching needle, in the same way as on copper, scratching through the covering of gun, and then rubbing the printing ink on the surface of the stone; it only adheres in the parts where the gum has been scratched away, and when the stone is soaked in water, the gum dissolves and washes off, leaving the design traced in printing ink on the stone, which, when dry, is printed from in the mode before mentioned. mentioned. It should seem, however, that notwithstanding the apparent simplicity of this process, there must be yet some considerable discoveries to make in the detail, as nothing has been produced in this country, which can, in respect of execution, be compared to the works produced on the Continent. "It is obvious, that supposing the impression produced, is equally fit to answer the purpose required, the whole expense of engraving may be saved, as the artist may himself, at once, make the design on the stone; besides this, the stone. is in no wise worn by printing, and any number of prints may be taken with it. Nothing resembling the tone, or effect of the fine productions of line engraving, can be produced; but an inspection of any of the works before noticed will shew that it is admirably adapted to represent subjects of natural history, outlines, designs, plans, &c. The art is also applicable to the multiplication of writings, as the subject required to be printed, may be written on the prepared paper before noticed, and transferred on the stone, and printed without the least delay, and at no other expense than the mere printing. At Munich, where this art is principally practised, all the proclamations, &c. relating to the State, are thus printed. ARTICLE II.-Character of Haydn's Works; from the Lives of Haydn and Mozart. "I PROCEED the which was performed, in the of my history. Haydn, now received into the Esterhazy family, placed at the head of a grand orchestra, and attached to the service of a patron immensely rich, found himself in that happy union of circumstances, too rare for our pleasures, which gives opportunity to genius to display all its powers. From this moment his life was uniform, and fully employed. He rose early in the morning, dressed himself very neatly, and placed himself at a small table by the side of his piano-forte, where the hour of dinner usually found him still seated. In the evening, he went to the rehearsals, or to the opera, palace, four times every week. Sometimes, but not often, he devoted a morning to hunting. The little time which he had to spare, on common days, was divided between his friends and Mademoiselle Boselli. Such was the course of his life for more than thirty years. This accounts for the astonishing number of his works. They may be arranged in three classes;-instrumental music, church music, and operas. "In symphony, he is the first of the first; in sacred music, be opened a new path, liable, it is true, to criticism, but by which he has placed himself on a level with the greatest greatest geniuses. In the third, that is, theatrical music, he was only respectable, and this, for many reasons; of which one of the best is, that in this department he was only an imitator. "Since you assure me that my prating does not tire you, I shall speak in regular order of these three kinds of music. "Haydn's instrumental music consists of chamber symphonies, for a greater or less number of instruments, and of symphonies for a full orchestra, which, on account of the great number of instruments necessary, can only be performed, with convenience, in a theatre. "The first of these divisions, comprehends the duets, trios, quartetts, sestetts, octetts, and divertimentos; the sonatas for the pianoforte, the fantasie, variations, and capricci. In the second are contained the symphonies for the grand orchestra, the concertos for different instruments, the serenades and the marches. "Of all this music, the quartetts, and the symphonies for the grand orchestra, are most esteemed. Haydn has written eighty-two quartetts, and one hundred and eighty symphonies. The first nineteen quartetts, are considered by amateurs merely as divertimentos. The originality and loftiness of his style is not yet fully developed in them. But, in return, each one of the quartetts, from that marked No. 20 to No. 82, would, alone, have been sufficient to establish the reputation of its author. "You know that quartetts are executed by four instruments, a first violin, a second violin, an alto, and a violoncello. An intelligent woman said, that when she heard a quartett of Haydn's, she fancied herself 1817. present at the conversation of four agreeable persons. She thought that the first violin had the air of an eloquent man of genius, of middle age, who supported a conversation, the subject of which he had suggested. In the second violin, she recognized a friend of the first, who sought by all possible means to display him to advantage, seldom thought of himself, and kept up the conversation, rather by assenting to what was said by the others, than by advancing any ideas of his own. The alto, was a grave, learned, and sententious man. He supported the discourse of the first violin by laconic maxims, striking for their truth. The bass, was a worthy old lady, rather inclined to chatter, who said nothing of much consequence, and yet was always desiring to put in a word. But she gave an additional grace to the conversation, and while she was talk ing, the other interlocutors had time to breathe. It was, however, evident, that she had a secret inclination for the alto, which she preferred to the other instruments. "Haydn, in the course of fift: years labour, has produced fiv hundred and twenty-seven instrumental compositions: and has never copied himself but when he intended to do so. For instance, the air of the Husbandman, in the oratorio of The Four Seasons, is an andante from one of his symphonies, of which he has made a fine countertenor air, but which, it must be allowed, flags a little towards the end. "You perceive, my friend, that the greater part of the observations which I should here make, require a piano-forte, and not a pen. At the distance of four hundred leagues from you, and our beloved France, S it it is of the poetical part only, of Haydn's style, that I can speak. "The allegros of his symphonies, which are in general full of life and spirit, carry you out of yourself. They generally commence with a short, easy, and intelligible theme. Gradually, and by a procedure full of genius, this theme, repeated by the different instruments, acquires a character of mingled heroism and gaiety. These solemn tints, are like the dark shades of Rembrandt and Guerchino, which produce such effects on the illuminated parts of their pictures. "The author seems to conduct you into the midst of abysses; but, a continued sensation of pleasure, allures you to follow him in his singular course. The character I have just described, appears to me to belong in common to the prestos and rondos. "There is more variety in the andantes, and adagios: the lofty style is there displayed in all its majesty. "The phrases, or musical ideas, are finely and nobly developed. Each member is clear and distinct, and the whole stands boldly forward. It is the style of Buffon, when he abounds in ideas. There is more energy, than softness, required to execute properly the adagios of Haydn. They have rather the proportions of a Juno, than of a Venus. More grave, than delicate, they breathe a tranquil dignity, full of the power, and, sometimes, with a little of the heaviness, of the Germans. "In the andantes, this dignity is occasionally subdued by a moderated gaiety, but still it always predominates. Sometimes, in the andantes and adagios, the author suffers himself to be suddenly car ried away by the copiousness and power of his ideas. This sportiveness, this excess of vigour, animates, enlivens, carries along with it the whole composition, but does not exclude passion and sentiment. "Some of the andantes and allegros of Haydn appear to have no subject. One is tempted to think the performers have begun at the middle of their parts; but in a short time the true amateur perceives, by his sensations, that the composer has had an object, and a plan. "His minuets are the pure emanations of genius. So rich are they in harmony, in ideas, in accumulated beauties, that they would suffice with an ordinary man for a sonata. It was in reference to this, that Mozart used to say of our comic operas, that any man in good health might make one, every day before breakfast. The second parts of Haydn's minuets are in generat comic, and are delightful for their originality. "The general character of the instrumental music of our author is that of romantic imagination. In vain would you seek in it the correctness of Racine; it is rather the style of Ariosto, or of Shakespeare. For this reason I cannot account for the reputation of Haydn in France. "His genius ranges in every direction with the rapidity of the eagle. The astonishing, and the alluring, succeed each other alternately, and are painted with the most brilliant tints. It is this variety of colouring, it is the absence of every thing tedious, which has probably obtained for him so rapid and extensive a success. Scarcely had he composed his symphonies, before they were performed in America, and the Indies. "The |