be at A, and the other at B, so that on turning the telescope A in the direction A B, he sees some conspicu * ous object, say a mast, in the other sledge. If A move from A to C in one minute, and B move from B to D, through a distance B D equal to A C in the direction BD, which is the same as that of A C, and also in one minute, the telescope will have remained pointed at the mast in the other sledge, so that there is none of that indication of motion which arises from change of apparent position. Neither will there be any of that which arises from change of apparent magnitude, at least if the weather be equally clear throughout; for the distance A B is equal to C D, and the two will have continued at the same distance throughout. Now, the weather remaining the same, the apparent magnitude of an object depends upon its distance alone, growing less as it recedes, and greater as it approaches; so that if it were to describe a circle round the spectator, the apparent magnitude would remain unaltered. Since then B neither changes its apparent position or its apparent magnitude with respect to A, the spectator at A perceives no indications of motion, and therefore imagines both are at rest. Generally, if we see neither change of position or of apparent magnitude in the objects around us, we can only conclude, either that, 1. we and the objects around us are all at rest, or, 2. that we and the objects are all in motion in the same direction and with the same velocity. This is not only true when the bodies are moving in straight lines, but when they are describing any curve whatever, provided we describe the same curve with the same velocity. Let A move round the circle A AA, while B moves round the equal circle BBB with the same velocity; the reader may easily B B satisfy himself that to what point soever A may have come, B will still be at the same distance, in the same direction, as when they set out. We have hitherto supposed in the spectator an eye so fine, or so practised, that he can detect the smallest change, either of position or magnitude, in the object at We shall, in what follows, take for granted several simple propositions of geometry, which the reader, who is not acquainted with that science, will easily see to be true, even by means of a figure drawn with the pen, if he be anything of a draughtsman. [which he looks. This we know to be impossible; we must, therefore, modify the proposition above-mentioned, so far as to assert that all objects will appear to us to stand still, whose velocity or the direction of whose motion differs so little from our own, as not to cause any perceptible change in their position or magnitude. We now proceed to inquire, what apparent motion will the sledge B have, when its real motion is different in direction, or in velocity or in both, from that of A? When we talk of apparent motion as distinguished from real, we refer to the fact that the spectator always imagines himself to be at rest, unless the motion is either an act of his own will, or unless he perceives something, such as the jolting of a carriage, or the motion of the horses' feet, from which former experience has taught him to draw a conclusion. Independently of these, his only sensations are those of a change of position and disof them, he will not recollect that the observed changes tance in surrounding objects; and, in looking at any one may be compounded out of those which will arise from his own motion and that of the object together, but, thinking himself at rest, will attribute to the object such changes. For example, suppose that the object is at a motion as would, by itself, produce the observed rest at B, while the spectator moves from A towards C, coming to 1 at the end of the first minute, to 2 at the end of the second, and so on. At the end of one minute, the object B is at the distance 1 B, in the direc tion 1 B. The spectator who thinks himself at rest at A, will suppose that B has moved to p, so as to place itself at the distance Ap equal to 1 B, in the direction Ap, which is the same as that of 1 B. Similarly, while he moves from 1 to 2, B will appear to him to move from p to q, and so on. That is, any real motion in the spectator gives, to an object really at rest, an apparent motion of equal velocity, but contrary direction, to his own. The apparent motion of the banks of a river, to a spectator carried along in a boat, is a case in point. The same proposition may be shown to hold good where the spectator moves in a curve instead of a straight line. Thus, if the spectator were carried round a circle, any fixed object would appear to be carried round the contrary way in a circle of equal dimensions. For instance, we, being carried round on the earth in a circle, from west to east, imagine that the stars move round us in a circle from east to west. We shall hereafter enter on the reasons why we cannot form any distinct idea of the diameter of this circle. (To be concluded in our next.) Horses in Brazil.-The great increase of these animals, in a land where none of the same genus had existed before the discovery, altered even the physical features of the country. The bulbous plants and the numerous kinds of aloes (pitas or caraguatas) with which the plains were formerly overspread, disappeared; and in their place the ground was covered with fine pasturage, and with a species of creeping thistle hardy enough to endure the trampling by which the former herbage had been destroyed. The insect as well as the vegetable world was affected, and the indigenous animals of the country, birds as well as beasts of prey, acquired new habits.-Southey's Brazil. 2 Y 2 THE CARTOONS.-No. 1. In the Cartoons of Raffaelle England may congratulate herself on being in possession of the noblest works of art which have ever been produced by human genius. The history of these designs, subsequently to their completion, as well as that of the tapestries which have been copied from them, is extraordinary. Estimated originally as the most splendid ornaments of regal and pontific state, they have since been exposed to all the vicissitudes of fortune;-seized as the spoils of war, dispersed in revolutions, disfigured by ignorance, and mutilated by avarice. Happily, the seven compositions at Hampton Court, if compared with others of the series, still to be seen in tapestry, must rank among the finest of the number, and they are in good preservation. Two or three others are said to be extant. The rest of the set, originally twenty-five, it is to be feared, have perished. 9. The Nativity. 10. The Adoration of the Magi. 12, 13, 14. The Slaughter of the Innocents. 16. The Descent of Jesus Christ into Limbus. 18. The Ascension. 19. Noli me tangere. 20. The Descent of the Holy Ghost. 21. The Stoning of St. Stephen. 23, 24. Children at Play, catching Birds, &c. The first seven above enumerated are those at Hampton Court. Two others are said to be in the possession of the King of Sardinia; and a third, one of the compartments of the Slaughter of the Innocents, is in this country, having been accidentally discovered, and purchased by P. Hoare, Esq. The rest, with the exception of a few dismembered fragments, are all lost: the designs, however, are still visible in the tapestries at Rome. It was within a few years of his death, and during the meridian of his powers, that Raffaelle was engaged by Leo X. to design this series of subjects, taken from the Life of our Saviour and the Acts of the Apostles. When finished, the Cartoons were sent to Brussels to be woven in tapestry, under the superintendence of Bernard Van Orlay, at a cost of 70,000 crowns. It seems surprising that when the tapestries were completed the Cartoons were not reclaimed and brought back to Rome: the circumstance, however, explains itself by referring to the events of the period. Both Raffaelle and his munificent patron, Leo, had died in the interval; and the succeeding pontiff, Adrian VI., a man of narrow capacity and destitute of taste, bestowed not a thought on those arts which had distinguished the reign, and were destined to immortalize the memory of his illustrious predecessor. It is more inexplicable, that among the persons who superintended the execution of the tapestries, there were not some who were capable of Such is the history of those noble productions. But appreciating the excellence and value of the originals, notwithstanding the neglect and partial destruction to more especially as Van Orlay and Michael Coxis, both which they were so barbarously consigned, their reputaengaged in those works, had been pupils of Raffaelle. tion was in the mean time promulgated and established From whatever cause, the Cartoons were thrown by as through the medium of the tapestries, Nor can there things of no value, and left to moulder and decay among be a stronger proof than this of their deep and intrinsic the lumber of the manufactory: it has been said that excellence, which could make itself felt and understood they were even exhibited occasionally in the front of the through a mode of copying so coarse and inefficient; house as signs, indicating the vocation carried on within. although we must admit that, considered not as transcripts From this state of degradation they were redeemed by of fine art, but merely in the light of splendid furniture, Charles I., at the recommendation of Rubens, and nothing can be more magnificent than those stately hangbrought to England. The obligation due to this mo- ings of arras. The two sets first manufactured were narch, to whose taste we owe the acquisition of the Car- intended by Leo X., the one for the apartments of the toons, is to be extended to Cromwell, by whose discern- papal palace, the other as a present, to Henry VIII. o ment they were secured to the country during the sale England. These works were destined to encounter a and dispersion of the royal collection. They were pur- greater variety of adventures than even the original Carchased at the immediate command of the Protector, toons. The first account we have of their appearance whose sagacity seems in this, as in most other instances, was during the pontificate of Paul IV., by whose order to have outgone that of his contemporaries, on whom they were suspended on high festivals in one of the vesthe showy ostentation of Andrea da Mantegna appears tibules of the basilica of St. Peter. It is said that they to have made a stronger impression than the chaste and excited delight and astonishment not only among the intellectual grandeur of Raffaelle. The triumphs of Julius learned in art, but that they were viewed by the popuCæsar, painted by the former, were valued at £2000; lace with enthusiastic and unsated avidity. In the sack the Cartoons of the latter at £300. After this period of Rome, in 1526, they were carried away, but were these works were again consigned for a long time to restored during the reign of Julius III. by the Duc obscurity, and neglect. They had been sent by King de Montmorenci. Again, in 1798, they made part of Charles II. to Mortlake to be copied in tapestry by an the French spoliations, and were actually sold to a Jew artist named Cleen, who superintended a manufactory at Leghorn, who burnt one of them for the purpose of of arras at that place, originally established by James I. extracting the precious metal contained in the threads. Here they met with no better treatment than they had As it was found, however, to furnish very little, the proformerly encountered at Brussels; for it was found, whenprietor judged it better to allow the others to retain their they were afterwards opened and inspected by the command of King William, that they had been so carelessly packed as to have sustained considerable injury. By The Cartoons are shown, with the other pictures, to visitors, upon payment of a fee to the person who goes round the apartment. We hope, when the new National Gallery is finished, that they will be removed to London, so that the public may be delighted and improved by their contemplation without the exaction of sixpences and shillings. original shape, and they were soon afterwards re-purchased from him by the agents of Pius VII., and reinstated in the galleries of the Vatican. The second set of tapestries, intended by Leo X. as a present to Henry VIII. of England, were accordingly transmitted to that monarch, although it is affirmed by some authorities that he obtained them by purchase from the state of Venice. On their arrival in England, they were hung up in Whitehall, and descended, as a royal appanage, through the reigns of Edward VI., Mary, Elizabeth, James I., and Charles I. After the death of that unfortunate monarch, they were purchased by the Spanish ambassador in London (Don Alonso de Cardanas), who carried them to Spain, and from him they devolved to the house of Alva. From a palace belonging to the dukes of that name, they were purchased, a few years since, by Mr. Tupper, our Consul in Spain, and restored to this country. They were afterwards exhibited for some time at the Egyptian Hall, in Piccadilly, finally re-purchased by a foreigner, and by him taken back to the continent. As the finest examples of the higher qualities of art, the Cartoons have been sedulously studied and copied, wholly or partially, by the most eminent painters: copies of the seven at Hampton Court, by Sir James Thornhill, were presented by Francis Duke of Bedford to the Royal Academy, and another set is in possession of the University of Oxford, the gift of the Duke of Marlborough. They have been engraved in this country by Dorigny, and by his scholars, Dubosc and Somereau. The beautiful and elaborate plates of the seven Cartoons, to which the late Mr. Holloway devoted a large portion of his life, will form a lasting monument of that artist's talent and perseverance*. at once sublime and beautiful; it is that of triumphant virtue and Divine power, yet touched by the traits of recent suffering. It may be added that the costume is different from that in which he is elsewhere represented. It is simply a white drapery, which nearly envelopes his figure, but leaves one of the shoulders uncovered: this indicates that he has arisen from the dead. The whole subject, although so finely amplified, is yet so condensed, and presses on the mind with such truth of delineation, that while we look on the picture, we feel a difficulty in believing that the event could have happened in any other manner than as it is there represented." THE WEEK. DECEMBER 6.-The birth-day of GEORGE MONK, the first Duke of Albemarle. He was born at Potheridge, in Devonshire, in 1608, and was a younger son of Sir Thomas Monk. The family had been long one of great wealth and respectability. George, according to the account of Aubrey the antiquary, was a strong, lusty, well-set young fellow, and in his youth happened to slay a man, which was the occasion of his flying into the Low Countries, where he learned to be a soldier." He had previously, however, followed the profession of arms, and was engaged in the expeditions to Cadiz -and the Isle of Rhé. Before he returned from the Netherlands he had attained the rank of Captain. He afterwards served in the army which Charles I. sent against Scotland in 1640; and upon the Scottish Pacification was employed against the Irish rebels, and obtained a regiment, where he gained so much the good will of the soldiery that they used to call him "honest George Monk." Having thus joined the royal side in the alreadycommencing national troubles, he was promoted to the rank of Lieutenant-Colonel, and soon after appointed Governor of Dublin, and eventually made Major-General of the Irish Brigade. His services in the cause of the King, however, were terminated by the fight of Nantwich, on the 21st of January, 1644, in which the royal troops under Lord Byron sustained so complete a defeat from the parliamentary commander Lord Fairfax. Monk was among the numerous prison To enter on an analysis of the style of Raffaelle, would far exceed the limits which we can assign to this article: we purpose to return to the subject, and shall in the meanwhile confine our remarks to the Cartoon engraved in this number, Christ delivering the Keys to St. Peter. To any other artist than Raffaelle, this subject would not, perhaps, have presented any striking capabilities, as the action and expression, however solemn and pathetic, is deficient in that variety and force which gives effect to graphic representation. But wherever human feelings were brought into play Raffaelle found the elements of his art; and his power in marking the diversities of character, and in discriminating the shades of sentiment, have never been more strongly evinced than in this work. The Redeemer stands alone, distinguished by a majestic simplicity of action. With one hand he points to a flock of sheep, symbolically introduced in illustration of the text, "Feed my sheep;" with the other heers; and, being consigned to the Tower, lay there for consigns the keys to St. Peter, who kneels with devout reverence to receive them. The Apostles are formed into a compact group, and appear earnest to receive the last commands of their Master, previously to their separation and dispersion to preach the Gospel in all parts of the earth. St. John, the beloved of Jesus, presses eagerly forward, the veneration he evinces being mingled with an expression of affectionate attachment. Behind him stands an apostle whose action is less animated than that of his brethren: it has altogether the cold and sedate demeanour of a person of sceptical temperament. This is undoubtedly St. Thomas; and next to him, in fine contrast, is a disciple who stretches out his hands towards Christ, and turning to the incredulous apostle with an expostulatory and somewhat indignant air, seems to say, Are you yet convinced? Every head in the group has its peculiar physiognomy, with the expression properly belonging to it. Some express the most entire and deferential acquiescence in the preference given to St. Peter, while across the countenance of others steal the signs of jealous dissatisfaction; for Raffaelle, although he has given the Apostles an exterior befitting men who have been called to so high and solemn a vocation, yet shows that as men they are not entirely divested of human weakness. The expression of the Saviour is The series of wood-cuts, which we are about to publish in this work, of the seven Cartoons, will, we trust, enable thousands of persons who have never seen the originals, or even engravings of them, to judge of the grandeur and beauty of these noble compositions. Engraving on wood is not unsuited to the boldness of their style. above two years, forgotten, it is said, by his party when the exchanges took place, though the King once sent him a present of a hundred guineas. He occupied himself during this long detention in composing a professional treatise, which was published some time after his death, under the title of Observations on Military and Political Affairs.' It was while here, also, that he first became acquainted with Ann Clarges, the daughter of John Clarges, a blacksmith of the Strand, who was his laundress, and whom he married after having kept her for some time as his mistress. She had been married before to a farrier of the name of Thomas Radford; and it has been asserted that this person was still alive, when she gave her hand to General Monk in 1652. Aubrey says that her mother was "one of the fine women barbers; and that her father's was the cornershop, the first turning on the right hand as you come out of the Strand into Drury Lane." Monk's future fortunes, as some suppose, were much indebted for their complexion to the management of his wife; but his own extraordinary prudence had perhaps a much greater share in them. He long refused to accept a command under the Parliament; but finally accepted a command against the Irish who were considered rebels both by King and Parliament, and was thereupon liberated from the Tower. In 1651 he accompanied Cromwell on his expedition for the reduction of Scotland; and when the latter returned to England in August to stop the progress of the King, who had taken the opportunity of his absence to march towards the south, he left Monk in Scotland with five thousand men to complete the subjugation of the country. On the 14th of that month accordingly Monk took by storm the important fortress of Stirling, and on the 1st of September forced his entry in the same manner into the town of Dundee; after which he was admitted without opposition into Aberdeen, St. Andrews, and all the other principal places of the kingdom. He continued at the head of affairs in Scotland, where he ruled with a steady but not a harassing despotism, till the death of Oliver Cromwell, and the confusion that arose under the short protectorate of Richard. In this crisis he set out for England at the head of a powerful force, and arrived in London on the 3d of February, 1660. It is supposed by some writers that in taking this step he had not settled with himself what part he should act, but had determined to be guided by circumstances in his choice of the scale into which he should throw his sword. Locke, in his Life of Lord Shaftesbury, says, "Monk had agreed with the French ambassador to take the government on himself, by whom he had promise from Mazarin of assistance from France, to support him in this undertaking. This bargain was struck between them late at night, but not so secretly, but that Monk's wife, who had posted herself behind the hangings, where she could hear all that passed, finding what was resolved, sent immediately notice of it by her brother Clarges to Sir Anthony Ashley Cooper (afterwards Lord Shaftesbury). She was zealous for the restoration of the King, and promised Sir Anthony to watch her husband, and inform him from time to time how matters went. Upon this notice Sir Anthony summoned the Council of State, and before them indirectly charging Monk with what he had learned, proposed that, to remove all scruples, Monk would at that instant take away their commissions from such and such officers in his army, and give them to those whom he named. By this means the army ceased to be at Monk's devotion, and was put into hands that would not serve him, in the design he had undertaken." Whatever truth there may be in this story, Monk soon after declared openly for the King; and the restoration followed without a hand being raised against it. On the 25th of May, Charles was received by the General at Dover; and on the following day the latter was honoured with the Order of the Garter. Soon after he was created Duke of Albemarle. In 1666, in the second year of the war, commenced in 1665 against Holland, Monk was appointed with Prince Rupert to the joint command of the English fleet, and in this capacity, on the 24th of July, he encountered the two Dutch Admirals, Ruyter and the younger | Van Tromp, in the Downs, and in the course of a fight which lasted for two days, sunk and burned twenty of the enemy's ships, four thousand of their men being killed and three thousand wounded. This able military and naval commander died on the 3d of January, 1670, at the age of sixty-two. STATISTICAL NOTES. ENGLAND AND WALES-(CONTINUED). (28.) THE Woollen manufacture was, in early times, by far the most important in England, and was distributed pretty equally throughout the whole country. Towards the end of the seventeenth century, the value of the wool shorn in England was estimated at £2,000,000 a year; and it was supposed that the entire value of the woollen articles produced was £8,000,000, of which about £2,000,000 were exported. At an average of six years ending with 1789, the annual official value of the exports was only £3,544,160 a year, and in 1802, being the largest amount of any known year, they had risen to £7,321,012. In 1812 they had sunk to £4,376,479, and in 1830 were £5,558,709, official value, and £4,850,884, declared value. The total value of the manufactured woollens annually produced in Great Britain may at present be calculated at from £20,000,000 to £22,000,000; and the number of persons employed in it does not exceed 400,000. The woollen manufacture has always been an object of solicitude with Parliament, though it may be doubted whether it has derived any substantial advantage from the numerous acts that have been passed respecting it, such as the acts prohibiting the exportation of English wool, and for encouraging the manufacture in various ways; as, for instance, the act of Charles the Second, enacting that the dead should be buried in woollen shrouds, which remained in force more than one hundred and thirty years. The rise of the cotton manufacture, and the comparative decline of the fabric of woollens, shows how little it is in the power of acts of parliament to keep industry in its old channels, when circumstances far more influential than kings or laws tend to drive it into new and more productive ones. The constant prayer of manufacturers to governments should be that of the citizens of Paris to Colbert, when that minister offered his assistance to their trade—“ Laissez nous faire ;”"leave us alone." (29.) The progress of the linen manufacture in England, of late years, has not been considerable, owing partly to the rise of the cotton manufacture, and more especially to the efforts that have been made to bolster up the manufacture of linen in Ireland and Scotland. As an instance of the extraordinary notions that were formerly entertained upon the plainest matters of public economy, it is a fact that, in 1698, when Parliament addressed King William the Third, representing that the progress of the woollen manufacture in Ireland was such as to prejudice that of this country, and that it would be for the public advantage if the former were discouraged and the linen manufacture established in its stead, his Majesty replied, I shall do all that in me lies to discourage the woollen manufacture in Ireland, and encourage the linen manufacture, and promote the trade of England." The system of bounties is now at an end, but we persisted in it for more than a century, endeavouring to force a trade in linens by enabling our merchants to sell them abroad for less than they cost. In 1825 the bounties paid on British linen exported amounted to £209,516, being between a sixth and seventh part of the entire value of the exports; and the bounty on Irish linen exported the same year was £87,549, being about a tenth part of the value of the exports. The exports of linen from the United Kingdom in 1829 amounted to 57,698,372 yards, of the declared value of £1,953,607. The export from Ireland direct to foreign countries was about one-seventeenth part of the whole. The entire value of the linen manufacture of Great Britain and Ireland was estimated by Dr. Colquhoun at £15,000,000, which, however, Mr. M'Culloch considers as very much exaggerated. Perhaps it may be fairly valued at £10,000,000; and setting aside a third part of this sum as the value of the raw material, and 20 per cent. as profits and return for wear and tear of capital, &c., we have £4,667,000 to be divided as wages; and supposing each individual to earn on an average £15 a year, the total number employed would be 311,000 persons. (30.) Iron mines have been wrought in this country from a very early period; and, during the last century, the progress of the manufacture has exceeded the most sanguine expectations. In 1740 the quantity of pigiron manufactured in England and Wales amounted to about 17,000 tons, produced by fifty-nine furnaces. The quantities manufactured at the under-mentioned epochs in Great Britain were as follows:— |