gression, which might divert the attention from a subject so truly interesting in its relations to society. The manner in which the author treats of the article gold, the first species of perfect metals, will at once prove a satisfactory testimony of the clearness of his method, the accuracy of his knowledge, and the merits of the work : GOLD. "Gold is a yellow metal of no great lustre, little elastic, little sonorous, little hard, and little tenacious. It's tenacity is only 7 that of lead. It is the most malleable of all metals, and the most fixed when exposed to fire. It's specific gravity is inferior only to that of platina. "Gold, not being liable to be tarnished, is commonly employed for ornaments of dress; but the most important of it's uses in trade is for goldsmith's works, and for money, and jewels. In each of these several uses it's standard is different. The standard of gold is determined by carats, and thirty second parts of a carat. "Pure gold is of 24 carats, or of a carat. 768 32 32 "Coinage gold is of 21 carats, or of a carat of pure gold, and 2 carats, or of a carat of alloy.* 74 "Goldsmiths' gold is of 22 carats or 64 and two carats, or of alloy. 32 "Jewellers' gold should be of 20 carats, or metal, and 4 carats, or of alloy. 32 "The specific gravity of pure gold simply melted is 192581; when it has been subjected to strong compression, it's gravity is 195617. "The specific gravity of goldsmiths' gold when simply melted is 174863; when hammered 175894. "The specific gravity of coinage gold when simply melted is 174022; when coined 176474. "The specific gravity of jewellers' gold simply melted is 157090; when hammered 157746. "Gold is almost always found in the mines in it's native state; and there it is found either crystallized in octaedra, or in fibres, or filaments of different lengths, or in small plates disseminated in a matrix, or in spangles dispersed through sand or earth. Sometimes also it is found in irregular masses, and is then called pepite gold. Some of these, of very large sizes, are found at Mexico, and in Peru. Sometimes, but very seldom, it is found mineralized by sulphur, by the aid of iron; as in the auriferous pyrites, Whenever these pyrites are decomposed, the gold appears naked. It is very possible, that the gold dust found in auriferous rivers owes its origin to a decomposition of this nature. 66 Gold exposed to the action of fire reddens before it melts, but when it is quite red it is near melting. When melted it undergoes no alteration, long as may be the time it continues melted. *This is the standard of the French coin: the English is of 22 carats. T. I have I have, however, volatilized it in the focus of Mr. Trudaine's burning glass, but this volatilization did not alter it's nature, since it gilded a plate of silver held over it. "Nitro-muriatic acid, or oxygenated muriate, is the true solvent of gold. The solution is of a yellow colour, and it dies the skin purple. If this solution be properly evaporated, it affords yellow crystals like topaz, which have generally the form of truncated octaedra. These crystals are a true muriate of gold. "If ammonia, or volatile alkali, be poured on a solution of gold, the colour disappears; but, at the expiration of a short time, little flakes are formed in the liquor, which, every moment turn more and more yellow, and gradually fall to the bottom of the vessel. This precipitate, dried in the shade, is known by the name of fulminating gold. The ammonia is essential to it's fulmination, Berthollet having shown, that this fulminating gold, when gently heated in tubes communicating with the pneumato-chymical apparatus, affords ammoniacal gas, and thereby loses it's fulminating property "Fulminating gold is therefore a mixture of oxyd of gold and ammonia; for if gold be made to fulminate in tubes terminating in a bell filled with mercury, some drops of water and azotic gas are obtained: the oxygen of the oxyd, and the hydrogen of the ammonia, are in this operation disengaged together in form of gas; these two gasses take fire, detonate, and produce water; the azotic gas, remaining uncombined, passes under the bell. "Gold is precipitated from it's solutions by many metals an semi-metals, such as silver, copper, iron, lead, tin, mercury, bismuth, and zinc. Tin precipitates it suddenly, and forms the purple precipitate of Cassius. "Gold mixes with all metals, and many of the semi-metals. "Arsenic, bismuth, antimony, and nickel, turn it white and brittle. "Tin and lead greatly diminish it's ductility. Iron mixed with gold renders it very hard. "Copper increases it's fusibility, and reddens it a little: this is the general alloy of goldsmiths' ware, coin, and jewels. "Silver makes it appear very pale: this alloy forms what jewellers call in France or vert, green gold. "Platina does not occasion any alteration in it's properties, but only increases it's specific gravity. "Mercury forms with it an amalgam, used in gilding, which the French call gilding in or moulu. "Gold in powder is also employed to gild metals. For this purpose linen rags are dipped in a solution of gold, and afterwards dried and burnt. In order to make use of them, a wet rag is dipped into these ashes: with this the metal to be gilded is rubbed, and afterwards it is polished." The author has, in this excellent treatise, avoided the frequent introduction of quotations and discussions respecting the labours 2 and and opinions of former naturalists and chemists; a practice which has too often prevailed in elementary productions, and impeded the progressive improvement of the pupil. Histoire Naturelle de La Rose, cù Pon décrit ses différentes espèces, ses vertus et ses propriétés; suivie de la corbeille de Roses, ou choix de ce que les Anciens et les Modernes ont écrit de plus gracieux sur là Rose; et de l'Histoire des insectes qui vivent sur le rosier. Par Guillemau Jeune. Boosey. 1800. THE Success which attended the publication of the natural histories of the carnation, the violet, and some other flowers, several years since in France, appears to have induced the writer to compose this agreeable and elegant little treatise on the rose. It is divided into five chapters. He first treats of the rose in its various species and relations: the second discusses the proper mode of cultivating each species: in the third we are made acquainted with the properties and qualities of roses: the fourth enters into an accurate description of the insects which are formed in the rose-tree, and exist upon its leaves; and in the fifth the reader is entertained with a collection of the most pleasing passages from the ancient and modern authors who have had occasion to allude to the rose. Martyn of Fenrose; or, The Wizard and the Sword. A Romance. By Henry Summersett, author of Leopold Warndorff, &c. &c. 3 vols. 12mo. Dutton, Cerbett and Morgan, Miller, and Hurst. 1801. LIKE many of our writers of modern romance, the author has made the marvellous the ground-work of his production; yet several of his episodes possess strong claims to natural and affecting interest. Martyn of Fenrose exhibits a character of uncommon force, tempered with the noblest and most amiable feelings of humanity. The idea is in many respects original, and were the other characters delineated with equal success, few romances would be more popular. The supernatural means employed by Mr. Summersett are wisely made subservient to the cause of virtue. Juvenilia; or a Collection of Poems. Written between the ages of twelve and sixteen. By J. H. L. Hunt, late of the Grammar School of Christ's Hospital. Large 8vo. 1801. THIS collection contains many extraordinary specimens of early maturity in poetical talents. The author's literary acquirements appear to be very considerable, and the excursions of a vivid and luxuriant fancy are happily regulated, by a judgment remarkably correct for so youthful an understanding. There is certainly a considerable difference between the few pieces written at a very early age, and the productions of his six teenth teenth year; but the improvement which has taken place is more than commensurate to the lapse of time during which the writer may be supposed to have been engaged in the cultivation of his poetic genius. The Pastorals display great feeling and taste, and the Progress of Painting possesses many beauties that would not disgrace the most masterly composition, There are several bold traits and rich images in the allegorical poem of the Palace of Pleasure; but we recommend to the author, if he continues his courtship of a muse who is "not coy to his embrace," to shun the obsolete diction of Spenser, and form his style according to the best models of true taste and finished expression. Two specimens of a very different nature will shew the versatility of the young poc.'s genius : ODE FOR 1799. WRITTEN AT THE TIME OF THE WAR IN SWITZERLAND. "SWIFTLY o'er the barren heath Flies the distant echoing blast; Burning War and thirsty Death, Stern he said;-in wild reply Howl'd the dæmon of the wind: Like the waking thunder, rose Onward rush'd the bold to arms! Slow advancing from the west, O'er the widely-wasted heath, Oft before the dewy Spring Sadly smiles, is Freedom scen Weeping, fresh blown flow'rs to bring, And deck each corse with honours green!" WANDLE'S WANDLE'S WAVE. "THE placid eve, the whisp'ring gale, ORIGINAL POETRY. SONNET TO THE MONTH OF AUGUST. AUGUST! UGUST! I welcome thee, and all thy hours, The sun-burnt hours that dance about thy car; Thy genial breezes and refreshing showers, Thy morning pageantry and evening star : Bright are thy smiles, and blythe thy votaries are, For thou dost bring them harvest's fruits and flowers: The laughing vine, to glad their jolly bowers. ADELAIDE. A BALLAD. POOR Adelaide is dead and gone, She |