by the greater or less thickness of the colour. When the painting was well dried and adhered to the plate, he deposited it in an electrotype apparatus, in order to receive the deposit of copper, which he stated took place immediately upon the parts not covered by the painting, more slowly upon those which were only covered by a thin coating, and more tardily still upon those parts where the thickness is greatest. After several successive applications, when the thickness was sufficient to support the action of the copper-plate press, the deposit was separated from the plate; and the former, if any remained adhering, was removed by washing the plate with ether. By this means he obtained a mould of the painting in relief upon the silver plate, from which he reproduced his copies, or voltaic engravings.

6. In 1842, Mr. Palmer, of Newgatestreet, London, patented a process known as electro-glyphography, which we shall describe hereafter; and since then electrometallurgy has made rapid strides in the march of improvement.

Having thus slightly sketched the history of Electro-metallurgy, we shall in a future number proceed to describe some of the apparatus required for manipulating.

HISTORY OF MUSICAL

INSTRUMENTS.

NOTWITHSTANDING the great number of musical instruments now in use throughout the world, the reader will find that they may be divided into three great and distinct classes. Firstly, instruments of percussion; and this class may again be subdivided into 1st, Pulsatile instruments of percussion, as the pianoforte, drum, tambourine, &c.; and 2nd, Plectrated* instruments of percussion, as the guitar, harp, &c. Secondly, instruments of inflation, which we may again divide into-1st, instruments of simple inflation, as the flute, trumpet, hautboy, &c.; 2nd, instruments of compound (if I may be allowed to use the term) inflation, as the organ. Thirdly, instruments of collision, as the violin, &c. To enumerate and describe all the instruments of music now in use, would be a work of which our limits will not permit us to think. We

Struck by the finger, or with a quill.

will therefore give a short description of the principal instruments in use at the present day, and, whenever it lies in our power, we will state from what ancient instrument they were derived, and also give the name of the inventor or originator.

We will commence with instruments of pulsatile percussion. The first instrument of percussion that we shall mention will be the pianoforte. The pianoforte derives its name from two Italian words, piano soft, and forte loud, in consequence of its capability of producing either soft or loud tones at the will of the performer. The pianoforte has been derived from several instruments, the first of which is supposed to be the magadis, an instrument invented during the middle ages-by whom, is not known. The instrument next following in the line of progression was the virginal, invented in England during the reign of Elizabeth, and named in honour of the virgin Queen. At this time there was an instrument of the same class called the cittrole; of it, however, we know little or nothing, except that it was invented by the monks of middle Europe. The next instrument in the line of progression was the spinnet. "This instrument in its shape," to use the words of an old writer, "was not much unlike a harp laid horizontally." It was cased the same as a harpsichord. The notes had double wires, almost wholly of steel, there being but few of brass. They are touched by jacks, as a harpsichord. These "jacks," as they were termed, were inade on the same principle as the single action of a pianoforte, with this exception, that instead of having a hammer, they used stiff pieces of quill so contrived as to catch the string as it (the quill) ascended, and on its descent to let it go with a spring; in the same manner that a person plays upon a guitar. This, of course, produced a very wiry and rough sound. This instrument, which was in use about a century ago, is now completely out of vogue. The instrument we shall next consider will be the harpsichord. The harpsichord differed but little from the spinnet, with the exception that it had dampers, which are small pieces of wood affixed to the action, which fall on the wires after a note has been struck, and damp (as it is called) the sound. The harpsichord was also partly derived from

the polyplectrum of Guido, of which we have no authentic account.

The piano-forte was the first instrument of pulsatile percussion of any note save the drum, tambourine, &c. The piano-forte was made at first exactly like the harpsichord, except that, instead of using quills they used hammers, made of wood, covered with soft buckskin or woven wool. This, of course, prevented all that wiry sound of the harpsichord, and it has from that time entirely superseded the latter instrument on account of its being so much softer and pleasanter to the ear.

The instrument that next claims our notice is the harp. The form of the harp, and the manner of performing on it, is so well known that it would be needless to give a description of it. The source from which the name of the instrument was derived has been a matter of contention; some suppose that it is derived from the Arpi, a people of Italy, whilst others think that the Arpi derived it from the Irish. For ourselves, we think that the former is by far the more probable. The Hebrew harp is thought to have been remarkable for its beauty, and also for the extent of its scale. It was supposed, in this particular, to exceed the modern harp, whose compass is seldom over five octaves. The semitones of the modern harp are made by a pedal placed around the base; these are made to communicate with the strings by means of a hollow column, and, on being pressed by the foot, they are shortened by projecting stops, and cause a chromatic effect. The Irish and Weish bards were famous for their performance on this instrument; but at present there are only a few itinerant ones who preserve the tradition of many national airs. The harp, comparatively speaking, is at present but little used. The guitar is of the same class of instruments as the harp, and is as well known.

We now come to the second class of instruments, namely: those of inflation. Under the head of simple inflation, we will first notice the flute. There are two kinds of flute, viz., the English and German, which are so totally different, that we shall have to give a separate description of them. The English flute consists of a tube about eighteen inches in

length, with eight holes in the side of it; by the stopping and opening of which, with the fingers, the sounds are regulated. It formerly had the name of flute à bec, signifying a beak, because the end of it is formed like a bird's bill. The German flute, so called because invented in Germany, is made like the English flute, with this exception; that it has keys with which to make the semi-tones; and instead of being blown at the end, is blown through an aperture in the side. The name flute is derived from the Latin fluta, a small eel taken in the Sicilian seas, because it is long and perforated at the side like that fish. The name of the inventor of the flute has been lost; certain it is, however, that it is of very ancient origin, for it was held in great esteem by the ancient Greeks and Romans.

Brass wind instruments are of the same class as flutes, but they differ so much in their construction, that were we to attempt to describe them, we should overstep our bounds. Under the second class of wind instruments, which we have designated as compound, the organ stands by itself; for no other instrument is made up of such an endless variety of parts. It is an instrument also of the highest antiquity, and in the structure of which a vast deal of ingenuity is displayed. Notwithstanding the many suppositions that have been made as to the originator of the organ, he still stands hidden from view. We would refer the reader to "Nicholson's English Encyclopedia" for a full account and minute description of the organ.

The third and last class of musical instruments we shall notice will be those of collision, as the violin, &c. The violin is the most perfect (when well played) and the most delightful of all stringed instruments played with a bow. Of the origin of the violin but little is known, though it is supposed to have originated during the time of the Crusaders. The Cremona violin is probably the most celebrated of any make. The bass viol, violincello, &c., belong to the same class of instruments, and originated from the same source, though they are of later date. We could greatly enlarge upon this interesting topic, if the limits of our work permitted; but we think that the few observations made include the principal topics.

MEMORY.

Soft as rays of sunlight stealing

On the dying day:

Sweet as chimes of low bells pealing

When eve fades away;

Sad as winds at night that roam

Through the heath o'er mountains lone, Come the thoughts now gone

On manhood's memory.

As the sunbeams from the heaven
Hide at eve their light;

As the bells when fades the even
Peal not on the night;

As the night winds cease to sigh
When the rain falls from the sky,
Pass the thoughts of days gone by
From age's memory.

Yet the sunlight in the morning

Forth again shall break,

And the bells give sweet-voiced warning
To the world to wake.

Soon the winds shall freshly breathe
O'er the mountains purple heath;
But the past is lost in death-

He hath no memory.

THE CHILD-ANGEL.

It is our blessing that our lot was fair-
The precious birthright of the dew and air,
The green and shade of woods, the song of birds,
And dreams too bright for words-

All that makes moonlight for the innocent heart,
And love, that in its bud, is still its crowning

part.

The sadness of the spring-time in the shade
Of dusk-the shadows of the night array'd,
By stars in the great forests, as they look,
Glistening, as from a brook;

And stillness, in the gloom, that seems a sound, Breathed up, unconscious, out from Nature's great profound;

Fancies, that go beside us when we glide,
Still seeking no companion-prompt to guide,
Even where we would not, to the saddest grove,
Where one still weeps for love,-

Still nursing ever a most sweet distress,
That, through our very sorrow seems to bless;-
These, since the child's departure, still declare
Her precious birthright in the dew and air-
And I, that do inherit them from her,

Do feel them minister,

As with new voices never felt before,

To love that, in my heart, still groweth more and

more.

SONG OF LIFE.

A traveller on a dusty road

Strew'd acorns on the lea;

And one took root and sprouted up,
And grew into a tree,

Love sought its shade at evening time,
To breathe its early vows,

And age was pleased, in heights of noon,
To bask beneath its boughs.
The dormouse loved its dangling twigs,
The birds sweet music bore-

It stood a glory in its place,
A blessing evermore.

A little spring had lost its way,
Amid the grass and fern-
A passing stranger scoop'd a well
Where weary men might turn.
He wall'd it in, and hung with care
A ladle on the brink,

He thought not of the deed he did,
But judged that toil might drink.
He pass'd again, and lo! the well,
By summer never dried,
Had cool'd ten thousand parched tongues,
And saved a life beside.

A nameless man, amid the crowd,
That throng'd the daily mart,
Let fall a word of hope and love,
Unstudied, from the heart.

A whisper on the tumult thrown,
A transitory breath,

It raised a brother from the dust,
It saved a soul from death!

O germ! O fount! O word of love!
O thought at random cast!
Ye were but little at the first,
But mighty at the last.

"HOPE ON, HOPE EVER."*
NIL DESPERANDUM.

Don't despair; though Fortune frown,
Fickle Fortune soon may smile:
Don't despair,-although cast down,
'Tis only for a little while.
Brighter days may come ere long,
Though to-day may clouded be,
Don't despair,-'tis very wrong,-

All may yet be well with thee:
Though Doubt may sigh a sad "Ah. never!"
Child of Care, "Hope on, hope ever.'
Cheerless-lone one, don't despair,

Though thy friends all turn away,-
Though they've spoken to ensnare,
Though they've listen'd to betray;
Friendship's counterfeit has gone,-
Learn to deem the loss a bcon,
In thy rectitude go on,

Thou may'st find true friendship soon;
Though Confidence, betray'd, cry Never!"-
Child of Grief, "Hope on, hope ever,"
Don't despair; whoe'er thou art,

Howe'er sad thy case may be,-
Cherish Hope within thine heart,
In return, she'll cherish thee.
Disappointments vex the mind,
Painful is affliction's rod;
Yet be patient-be resign'd-

Put thy trust, thy hope in GOD:
Nought from Him thy hope should sever,-
Child of Faith, "Hope on, hope ever."
Christian pilgrim, don't despair;

All thy wants to GoD are known; Art thou not thy Father's care? Can thy GOD forsake His own? Were man not to trouble born,

Faith would not have ample scope,
Christians sorrow-Christians mourn,
Not as those devoid of hope.

Nought should hope from Christians sever;
Child of GOD, "Hope on, hope ever."

From a sweet little cluster of Poems, cailed "Lays of Affection," by EDWIN N. MARKS, published by Simpkin and Marshall, London.

SIGNIFICATION OF CHRISTIAN NAMES.

Aaron, Hebrew, a mountain.
Abel, Heb. vanity.

Abraham, Heb. the father of many.

Absalom, Heb. the father's peace.
Achilles, Greek, a freer from pain.

Adam, Heb. red earth.

Adolphus, Saxon, happiness and help.
Adrian, Latin, helper.

Alfege, Sax. always merry.

Alan, British, swift like a greyhound.
Albert, Sax. all bright.

Aldred, Sax. the dread of all.

Alexander, Gr. a helper of men.

Alfred, Sax. all peace.

Alfric, German, all rich.

Alphonso, Gothic, our help.
Alwin, Sax. winning all.
Ambrose, Gr. immortal.
Amos, Heb. a burden.

Andrew, Gr. courageous.

Andronicus, Gr. a conqueror of men.
Anselm, Ger. a defender.
Anthony, Lat. flourishing.
Apelles, Gr. not black at all.
Archibald, Ger. a bold observer.
Arnold, Ger. a maintainer of honour.
Arthur, Brit. a strong man.

Augustus, Lat. venerable, grand.
Augustin,

Baldwin, Ger. a bold winner.
Bardulph, Ger. a famous helper.
Barnaby, Heb. a prophet's son.

Bartholomew, Heb. the son of him who made the waters to rise.

Basil, Gr. kindly.

Beaumont, French, a pretty mount.

Bede, Sax. prayer.

Beavis, Fr. fair to look upon.

Benjamin, Heb. the son of a right hand. Bennet, Lat. blessed.

Bernard, Ger. bear's heart.

Bertram, Ger. fair, illustrious.
Blase, Gr. sprouting forth.

Bonaventure, Italian, good adventure.
Boniface, Lat. a well-doer.

Brian, Fr. having a thundering voice.
Cadwallader, Brit. valiant in war.
Cæsar, Lat. adorred with hair.
Caleb. Heb. a dog.

Cecil, Lat. dim-sighted.
Charles, Ger. noble-spirited.
Christopher, Gr. bearing Christ.

Clement, Lat. mild-tempered.

Conrad, Ger. able counsel.
Constantine, Lat. resolute.

Crispin, Lat. having curled locks.

Cuthbert, Sax. known famously.
Daniel, Heb. God is judge.

David Heb. well-beloved.

Demetrius, Gr. sprung from the earth.
Denis, Gr. belonging to the god of wine.
Dunstan, Sux. most high.
Edgar, Sax. happy honour.
Edmund, Sax. happy peace.
Edward, Sax. happy keeper.
Edwin, Sax. happy conqueror.
Egbert, Sax. ever bright.

Eleazar, Heb. the God of help.
Eldred, Sax. terrible.
Elijah, Heb. God, the Lord.

147

WHEN the air is calm and still, as dead and deaf
And under heaven quakes not an aspen leaf;
When seas are calm and thousand vessels fleet
Upon the sleeping seas with passage sweet;
And when the variant wind is still and lone
The cunning pilot never can be known:
But when the cruel storm doth threat the bark
To drown in deeps of pits infernal dark,
While ossing tears both rudder, mast, and sail,
While mounting, seems the azure skies to scale,
While drives perforce upon some deadly shore,
There is the pilot known, and not before.
T. HUDSON.

FRIENDSHIP.

I HAD a friend that lov'd me;

I was his soul; he liv'd not but in me;
We were so close within each other's breast,
The rivets were not found that join'd us first.
That does not reach us yet; we were so mix'd,
As meeting streams, both to ourselves were lost.
We were one mass, we could not give or take,
But from the same: for He was I; I He;
Return my better half, and give me all myself,
For thou art all!

If I have any joy when thou art absent,

I grudge it to myself; methinks I rob
Thee of thy part.

DRYDEN.

Orange Cheesecake.-A quarter of a pound of Sutter, a quarter of a pound of sugar, three eggs, a wine-glass of milk or cream, two ounces of sponge-cake, the rind of one orange, grated, half a nutmeg, two tablespoonfuls of rose-water. Pour the milk or cream over the sponge-cake, to moisten it. Then stir together the butter and sugar, whisk your eggs, mash the cake very fine, and mix ail together with the liquor and spice. Line your pie-plates with paste, fill with the mixture, and bake in a moderate oven. — Recommended by MARY WILSON.

Rice Souffle.-Boil two ounces of rice in milk, add the yolks of two eggs, a little sugar, and some candied orange-peel; then boil it again, and make a wall with it around the edge of the dish. Have ready some apples pared, and the cores scooped out; stew these apples in a little lemonjuice and sugar, filling the apertures with candied sweetmeats. Fill the shape with the apples, and cover them with the whites of eggs, beaten to a froth, with white sifted sugar. Harden it in a cool oven.-H. W. C.

A Shoulder of Mutton with Rice.-Take a shoulder of mutton and haif boil it, then put it into a stewpan, with two quarts of mutton gravy, a quarter of a pound of rice, a teaspoonful of mushroom powder, with a little beaten mace, and stew it till the rice is tender; then take up the mutton and keep it hot; put to the rice half a pint of cream, and a piece of butter rolled in flour; stir it well round the pan, and let it boil a few minutes; lay the mutton in the dish, and pour the rice over it.-S.

Economical use of Nutmegs. If a person begins to grate a nutmeg at the stalk end, it will prove hollow throughout; whereas the same nutmeg, grated at the other end, would have proved sound and solid to the last. This circumstance may be accounted for :-The centre of a nutmeg consists of a number of fibres issuing from the stalk and its continuation through the centre of the fruit, the other ends of which fibres, though closely surrounded and pressed by the fruit, do not adhere to it. When the stalk is grated away, those fibres, having lost their hold, gra dually drop out in succession, and the hollow continues through the whole nut. By beginning at the contrary end, the fibres above-mentioned are grated off at their core end, with the surrounding fruit, and do not drop out and cause a hole--"Perhaps the above may be useful to your housekeeping friends."-J. R. C., Lambeth.

Boston Pudding.-Make a good common paste with a pound and a half of flour, and threequarters of a pound of butter. When you roll it out the last time, cut off the edges, till you get the sheet of paste of an even square shape. Have ready some fruit, sweetened to your taste. cranberries, gooseberries, dried peaches, or damsons, they should be stewed, and made very sweet.

If

If apples, they should be stewed in a very little water, drained, and seasoned with nutmeg, rosewater, and lemon. If currants, raspberries, or blackberries, they should be mashed with sugar, and put into the pudding raw. Spread the fruit very thick, all over the sheet of paste (which must not be rolled out too thin). When it is covered all over with the fruit, roll it up and close the dough at both ends, and down the last side. Tie the pudding in a cloth, and boil it. Eat it with sugar. It must not be taken out of the pot till just before it is brought to table.-Recommended by H. C. S.

To make Mince Pies. - Parboil a bullock's heart, or a fresh tongue. After you have taken off the skin and fat, weigh two pounds. When it is cold, chop it very fine. Take the inside of the suet, weigh two pounds, and chop it as fine as possible. Mix the meat and suet together, adding the salt. Pare, core, and chop the apples and then stone, and chop the raisins. Having prepared the currants, add them to the other fruit, and mix the fruit with the meat and suet. Put in the sugar and spice, the candied peel, the grated peel, and the juice of the lemons and oranges. Wet the whole with the rose-water and liquor, and mix all well together. Cover tin pans of any size, small saucers, or a small piedish, with puff or plain paste; put in your mince; cover over with paste, paring the edges neatly, and marking the top with a paste-knife. Bake the pies half an hour in a brisk oven. Slip them out of the tins, and serve up hot. Keep your mince-meat in a jar, tightly covered. Set in a dry, cool place, and occasionally add more brandy to it. Instead of the heart or tongue, you may if you choose use part of a round of fresh beef."This receipt has been long tried by me, and found very useful."-MARY HILTON.

Sago Fruit Pudding.-A correspondent of the Cottage Gardener says:-"Being forbidden the use of pastry, I use rice and sago as substitutes, in the following manner. Boil a teacupful of sago as thick as it can be made to boil without burning put about five tablespoonfuls in the bottom of a quart basin; then a layer of baked fruit of any sort (sweetened), and fill the basin to the brim with alternate layers of fruit and sago. Put it in a cool place for some little time, and it will become solid. It is best when made shortly after breakfast, and allowed to stand till wanted to warm either in an oven, over boiling water, or before the fire with a plate turned over it, for dinner. The sago boils best when soaked in cold water for a few hours before using; rice is used in exactly the same way. By way of change, I sometimes line a basin with the rice or sago, when very thick, and spread a thick layer of the same over a large dinner plate. When cold and stiff, I turn the basin over it, and with a knife cut the sago round the edge of the basin: the parings I put in the bottom of the basin, and then fill with baked fruit, after which I put the sago in the plate on the top of the basin, to act as a cover. The smooth side must be upwards. Eaten with mock cream, made as follows, it is delicious: Pour half a pint of boiling milk on a teaspoonful of arrowroot, well mixed with a small quantity of the same; stir the mixture well, and have the white of an egg well beaten, and when about half cold add it, and placing the whole over the fire, stir til it nearly boils, then strain for use."