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"Quod non capis, quod non vides, Animosa firmat fides ;

Præter rerum ordinem."

The "Pange Lingua Gloriosi Corporis Mysterium," not less vigorous in thought and expression, with the "Adoro Te," were also composed by the Angelic Doctor. St. Ambrose was the author of the "Veni Creator," sung at Pentecost, and of the "Jesu! nostra Redemptio," destined to commemorate the Ascension. The poet Prudentius, who died in 395, likewise wrote some of the more ancient hymns. (But see the "Thesaurus Pontificalis" of A. Rocca, Romæ 1745, 2 vols.

those other monuments of religious sensation, so profoundly felt by Scott and Göethe, which enrich the Roman Missal, while, to the old German com

Aquinas must also be distinguished. By desire of Pope Urban IV. he wrote, in 1262, the "Lauda Sion Salvatorem," in celebration of the feast of "Corpus Christi," and some of the stanzas are of striking spirit. I may instance the fifth and twelfth, to which I annex what will be found a very inferior Greek version.

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Πλήρης ὕμνος ὀξύς τ ̓ ἔστω,
Ἡδὺς ἔστω ἀλαλαγμός,
Τῶν φρένων καὶ πρεπώδης.

ιβ.

Ο γ ̓ οὐ λαμβάνεις, ὁρᾶς τε,
Πίστις τλάθμος εκύρωσε,

Καὶ παρ' εἰρμὸν πραγμάτων. folio.) Dante occasionally, and always in impressive reference, quotes these hymns, Thus, in his Purgatorio, we find, "TE LUCIS ANTE, si devotamente

Glinsci di bocca con si dolci note,
Che fece me a me uscir di mente."
Purgatorio, Cant. viii. v. 13.

And, at the close of Canto IX.
"I mi rivolsi attento al primo tuono;
Et TE DEUM LAUDAMUS, mi parea
Udir in voce mista al dolce suono.'

The continental, at least the French, gamut, "ut, re, mi, fa, sol, la," was derived, it is stated, by Guido Aretino, a Benedictine (or Camaldolian) monk, about the year 1020, from the hymn on the birth of St. John the Baptist, as follows, to which I, as before, adjoin a feeble Greek translation :

"Ur queant laxis
RESоnare fibris
Mira gestorum
Famuli tuorum,
SOLVe polluti

Labii reatum,
Sancte Joannes !

This musical scale has been thus expressed. (Fabricii Bibliotheca Mediæ et Infimæ Latinitatis, tom. ii.)

"Cur adhibes tristi numeros cantumque labori? [Labores."

UT RElevet MISerum Fatum Solitosque corresponding to our C, D, E, F, B, A. The Italians, as they conceive, for euphony, have substituted the monosyllable RO for UT. (See Burney's History of Music, vol. ii. p. 85. Ménage, "Origines de la Langue Française, article Gamme," &c.)

In France, several of these canticles have been translated by Corneille, La

Ως δυνήσωνται κελαδεῖν λιγείως,
Θαύματ ̓ ἔργων σου θεράποντες ἐσθλοὶ,
Χείλεος λῦσαι θολεροῦ μίασμα,
Θεῖ Ιωάννη.

Fontaine, Racine, and La Harpe; and, in England, by Dryden, Southwell, and by Lord Roscommon, who has best succeeded, and that, perhaps, in one of the most difficult of corresponding transfusion, the "Dies Iræ." The second line of this thrilling effort of devotion, "Solvet sæclum in favilla," is, I perceive, exchanged in the Parisian Breviary for "Crucis expandens vexilla," probably to avoid the anomalous pagan testimony of the Sybil. Vida's Hymni, forming part of his works, are quite of a different character; and those of Santeuil, which enrich the French breviaries, though far more classical, are much less impressive

posers, we may concur with Burney (iv. p. 589), in applying the lines of Hudibras, though a little varied in purpose.

"As if their music were intended For nothing else but to be mended."

The relative character of the modern German and Italian music must, of course, be differently appreciated. Madame de Stäel, in her "Germany," chap. 37, thus discriminates these great schools. "La musique des Allemands est plus variée que celle des Italiens, et c'est en cela peut-être qu'elle est moins bonne : l'esprit est

than the homely outpourings of medieval fervour; " Tòv λaov TOû Xplorоû édídaέe Tòv Ocòv öλn rî xapdía divéσal, καὶ συνηχεῖ στόματι καθ' ἑκάστην εὐλογῆσαι καὶ κηρύξαι. evλoynσai kai kηpútai." The hymns of the Jesuit Oudin, in the office of St. Francis Xavier (Divione, 1705,) are of the purest latinity.

The influence on Napoleon of church bells and chaunt has been the frequent remark of his attendants and historians. "Le son des cloches," says Bourrienne, tome iii. 66 p. 222, produisit sur Bonaparte un effet que je n'ai jamais su m'expliquer: il l'entendait avec délices..

il avait la voix émue quand il me disait. Cela me rappéle les premières années que j'ai passées à Brienne. J'étais heureux alors!" Here the mighty conqueror sufficiently explains what to his old schoolfellow appeared of such arduous solution. It was, as with the humble Margaret, the recollection of his comparative innocence; and, well may each aberrant from that happy state exclaim, “Οσάκις γὰρ ὀχλούμενος καὶ βαρυνόμενος αἰσθάνομαι, ταύτης τῆς διδαχῆς με ἀπελθεῖν γινώσκω.” Who can hear, unaffected, or without some similar retrospective emotion, these simple invocations, such as the "Adeste Fideles," or Portuguese hymn, and the Pascal chaunt "O Filii, O Filiæ !" In Milton's sublimity of expression we may repeat

"Of charming symphony they introduce Their sacred song, and waken raptures high."

(It was, I believe, on Palestrina's violin that the following antithetic distich was inscribed:

"Viva fui in sylvis; sum dura occisa securi: Dum vixi, tacui; mortua dulce sono.")

condamné à la variété; c'est sa misère qui en est la cause; mais les arts, comme le sentiment, ont une admirable monotonie, celle dont on voudrait faire un moment éternal." This is true in fact, and beautiful in diction.

With still less restrained hardihood of assertion, Lucas Cranach, a German painter, a friend and follower of Luther, is called, at page 242 of the third volume, "the great master of the age." It would not be easy to evince greater contempt, I must say, for the taste or information of his readers than these words betray, and thus confidently to elevate in supremacy of position, an almost unknown artist, in presence of the glories of the profession, and of that age which generated Michael Angelo, Raffaelle, Titian, the omniscient da Vinci, Sebastian del Piombo, Giulio Romano, Bastiniano, Correggio, Cellini, Holbein, with so many more, the contemporaries of M. D'Aubigné's obscure and most ill-chosen champion. And if, in the comprehensive latitude of the eulogist's language, we stretch our comparative view to the succeeding years of that century, what a refulgent mass of Catholic renown signalizes, by birth or achievement, its further course, from Paul Veronese to Claude Lorrain, born in 1600, and its last offspring! Until lately the name of Cranach would be vainly sought for in our dictionaries; nor was it otherwise in France, as I learned from the curators of the Louvre, where some of his works are now, however, to be seen. The most admired is "St. John in the Wilderness,” in which Melancthon figures as the Saint; but another, Hercules and Omphale, represents John Frederick, the reformed Elector of Saxony, encircled by his mistresses, although the recognised head of Protestantism, and declared chief of its confederation, the league of Smalkalde. But, in every sense, Cranach was of subordinate instead of son dessein étant primary talent; mesquin, et d'un caractère appauvri.” (See Huber's Catalogue du Cabinet de M. Brindes, Leipzig, 1793, 8vo.) It was thus that Pope blazoned the fame of poor Jervas, now only known by his translation of Don Quixote, but

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whom the poet would make the associate of his own immortality. "Smit with the love of sister-arts we came, And met congenial, mingling flame with flame." Epistle to Jervas.*

To the flood of light poured from the bosom of catholicity on this challenged field of contest, what character of commensurate splendour, we may ask, does the adverse side produce, in any degree like a fitting competition? England offers no transcendent name; and in the sister walk, in architecture, Inigo Jones, the undisputed chief, adhered to the ancient faith, while, from the whole compass of Protestantism, one great master, Albert Durer, truly great, yet single and solitary, issues of equivalent eminence. Vesari appears unacquainted even with the

* I have not found it observed, though obvious on comparison, that the exordial invocation of Pope's Messiah,

"O Thou my voice inspire!" Who touched Isaiah's hallowed lips with fire, is borrowed almost literally from the prayer introductory to the first daily Gospel in the Roman Missal. "Munda cor meum et labia mea, omnipotens Deus, qui labia Isaiæ prophetæ calculo mundasti ignito." These words were, of course, familiar to Pope, born in the bosom, and educated by a clergyman, of the Roman Catholic communion, whose mass he must most frequently have served when the rite could only be celebrated in domestic privacy; but he merely refers to Isaiah, chap. vii. &c. and to Virgil's fourth Eclogue, or Pollio. Dr. Johnson, in his

version of the Messiah, does not advert to this most probable source of Pope's thought, and in all likelihood was unaware of it, as Warburton equally was, and Warton. I cannot say whether the subsequent editors were.

If we are to believe Pope, as recorded by Walpole in his Anecdotes of Painting, the above named Jervas (or Jarvis) was little acquainted with the language of his author, when he undertook the translation of Don Quixote; nor was Smollet, it seems, more conversant with the Spanish, when he engaged in the same task. In the Gent. Mag. for October, 1842, page 378, first column, Samuel Cooper, the painter, is inadvertently called the fatherin-law of the poet's father, instead of his brother-in-law, as he is more correctly named afterwards, from Walpole's Anecdotes.

existence of Cranach, but devotes many a page of his attractive volumes (Florence, Giunti, 1568) to the eulogy of Durer, whose genius, inferior perhaps to none in native endowment, solely wanted that refinement of taste, or ultimate finish, which the contemplation and rivalship of excellence, then and now chiefly presented in Italy, could alone impart, to rank amongst the foremost of his profession. M. D'Aubigné, however, most unauthorizedly (vol. iii. p. 243) assigns his master-pieces to the period which followed, in order to make them the inspirations of, his conversion; for the best of them, the " Crucifixion," which now adorns the imperial gallery of Vienna, bears the distinct date of 1511. His "Execution of the Martyrs' "is marked 1508; and his "Adam and Eve," with the "Adoration of the Magi," equally anteceded the Reformation. This event he survived only a few years, during which he certainly produced nothing superior in achievement to these, his acknowledged masterpieces. As an engraver his merit was equally great, and, from the wider dissemination of his productions, much more diffusively known. See Gent. Mag. for July 1839, p. 34, and August p. 118, with Mr. Jackson's "History of Wood Engraving.” (1839.)

"The church of Rome," wrote Sir David Wilkie (Life by A. Cunningham, vol. i.) from Italy in 1827, "has ever been the nurse of arts, but painting has been its favourite child. The art of painting seems made for the service of Christianity-would that the Catholics were not the only sect that had seen its advantages." Mr. Westmacott in his Lectures is not less emphatic, while far more extensive in the assertion of Catholic patronage, embracing as it did the whole circle of the Fine Arts.

The contrasted effects on man's devotion, from the presence or absence of the objects of art in temples of worship, and the advantage in this respect of Catholic practice, are forcibly Schiller's "Maria pourtrayed in

Stuart," by Mortimer, nephew to the royal captive's keeper, Sir Amyas Paulet, ("Amias Paulet, RitterHütter der Maria; and Mortimer sein

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Neffe; Erster Aufzug, Sechster Auftritt.")

"Ich hatte nie der Künste Machte gefühlt,
Es hasst die Kirche, die mich auferzog,
Der sinne Reiz, Kein Abbild duldet sie,
Allein das Körperlose Wort verehrend,
Wie wurde mir, als ich ins Innre nun

Der Kirchen trat, und die Musik der Himmel
Herunterstieg, und der Gestalten Fülle
Verschwenderisch aus Wand und Decke quoll,
Das Herrlichste und Höchste, gegenwärtig,
Vor den entzückten Sinnen sich bewegte,
Als ich sie selbst nun sah, die Göttlichen,
Den Gruss des Engels, die Geburt des Herrn,
Die helge Mutter die herabgestiegne
Dreyfaltigkeit, die leuchtende Verklärung."

Theater von Schiller, Vierter Band.
Tubingen, 1807, p. 27.

Thus far, as relates to the FINE ARTS, our polemic's pretensions, whether in assertion or insinuation, will appear, I trust, neither unsuccessfully nor unfairly encountered; although the refutation, for its necessary effect, has been more lengthened than I would have desired. And the same necessity will apply as we proceed to consider his other assumptions, for, as a great French writer remarks, "Une ligne peut contenir des erreurs, qu'il faut des volumes pour refuter." My authorities shall be, as they have studiously been, of M. D'Aubigné's own creed, or favour, on any contestable point. Yours, &c. J. R. (To be continued.)

Th--ll, 2nd May.

MR. URBAN, I NOW beg to send you the continuation of my account of the family of Bover, which I commenced in your number for April.*

I omitted there, I find, to give the name of Captain Bover's wife, and I therefore take this opportunity of supplying the omission. Mrs. Bover was the only daughter of George Malbon, esq. descendant of the Malbons+ of Bradeley, in the county of Chester. She died Jan. 2, 1794, having survived her husband somewhat more than eleven years. By her Captain Bover had issue, as I have before stated, no less, I believe, than eighteen children,

*See p. 371 of the preceding volume. + Bradeley Hall, with its demesne, was for many centuries the property and residence of this family, and was granted by Joanna, daughter and co-heiress of Wil liam Malbank, Baron of Nantwich, to her kinsman William Malbon.

but several of that number died in early life. Those who survived to more advanced years were as follow:

1. George, of whom, being the last surviving male descendant of the family, I will speak hereafter.

2. John, who was brought up to the naval profession, and after serving the accustomed period as a midship. man, was appointed, by Vice-Adm. Sir Peter Parker, then Commander-inChief of the Fleet at Jamaica, Second Lieut. of H.M.S. the Lion. This promotion took place on the 9th of March, 1780; and, after remaining about three years in the Lion, Lieutenant Bover was transferred H.M.S. the Canada. He did not, however, remain long in that ship, for, in 1784, we find him holding the commission of Lieutenant in H.M.S. Centurion, of 50 guns, of which also he was Lieutenant at Arms. Whilst filling this honourable position he was unfortunately seized with illness, and before many weeks had elapsed fell a victim to the climate of the West

to

Indies, in the prime of life, and devotedly attached to his profession, in which, had his life been spared, there is every reason to believe he would have considerably distinguished himself. In one of his letters to a friend in England during his station at Jamaica, he writes in these spirited terms: "On board the Lion. We have had a tolerable successful cruize, but it seems very strange to hear in every other quarter of some brave naval action, whilst we hitherto, except during the alarm from the Comte D'Estang, have cruized in perfect safety, and insulted the enemy even at the mouth of their own harbour. I must confess," he adds, "it is highly unsatisfactory to be so totally excluded from the opportunity of gaining credit in one's profession."

3. Henry, who was also brought up to the naval profession, and served for some time on board H.M.S. Sandwich, but was, alas! cut off in the vigour of youth even at a still earlier period in his career than his brother John. He died at sea whilst serving as a midshipman, but I am not aware to what ship he was then attached.

4. William, who by his own choice adopted the profession of arms, and entered the service at an early age as an Ensigu in the 5th Foot. He soon

afterwards exchanged into the 41st, which latter corps he joined at Hilsea Barracks in 1787. He served for some time with this regiment in Ireland, and on the 28th February, 1790, was promoted to the rank of Lieutenant. The 41st Foot stood at this period, I should say, as high in military estimation as any regiment in the British army. It was then commanded by Major-General Stirling, and under the Lieut.-Colonelcy of Sir Charles Gordon; and the great hero of the age, the Duke of Wellington, was serving in it-a youthful subaltern-having joined the regiment in the same year as Lieut. Bover. In 1793 the 41st was ordered out to the West Indies, and Lieut. Bover accordingly sailed with his regiment in the latter part of that year from Cork. He had no sooner, however, arrived at his destination than he began to exhibit evident symptoms of decline from the effects of the climate, and before the end of the year following the grave had closed on another member of this family, whose professional career promised in after years to have shed a lustre on his name. He died universally respected and beloved both by the officers and men of the regiment, and having deservedly gained a character by his honorable and upright conduct, which long survived in the recollection of his companions in arms.

5. Peter, who was born 5th October, 1772, and, adopting his father's profession, entered the navy in 1789, as a volunteer on board H.M.S. Perseus. In the course of the same year he was removed to the Queen, and in 1788 we find him serving on board H.M.S. Crown, a 64-gun ship, then bearing the broad pennant of the Honourable Commodore, afterwards Admiral Cornwallis. Here young Bover contracted an intimacy and friendship with the late Sir Christopher Cole, K.C.B. (who was an officer in the same ship), which continued to exist with unabated fervour during their respective lives. To the gallant Admiral Cornwallis he was much indebted on several occasions for his advancement in the service, and for a kindness of feeling and a warmth of interest in his behalf, which was evinced at all times towards him in no ordinary degree. He had also the good fortune to be

come the favoured protegé of Admiral Affleck, who, in one of his letters to the family, after speaking of his conduct in the service, adds: "A Bover will always find friends in the navy; it is a name which will ever be dear to the service." Our hero was appointed a Lieutenant of H.M.S. Minerva 20th Sept. 1793, and was subsequently for some time in the Excellent, and the Cæsar. In the year 1796 he was appointed First Lieutenant of H.M.S. London, of 98 guns, bearing the flag of Admiral Sir John Colpoys, G.C.B.; and his brave and intrepid conduct as an officer of that ship, on the occasion of the Mutiny at the Nore in the following year, is matter of historical record. The mutineers, it will be remembered, had determined upon holding a convention of delegates on board the London, which the admiral as determinedly opposed; and the former, finding that they were resisted, fired upon the ship, and wounded a marine officer. Lieut. Bover seeing this gave orders to the marines to fire upon the delegates, which they did, and five of the party were killed. The seamen of the London, in consequence of the death of the delegates by the firing of the marines, then seized Lieutenant Bover, and were proceeding to suspend him from the yard-arm for the orders he had given, but through the intercession of several of the crew, by whom he was greatly beloved, and in consequence of Admiral Colpoys assuring them that he had acted strictly in compliance with the orders received from the Admiralty, they consented to spare his life, and contented themselves by making him and the other officers close prisoners to their cabins. Lieut. Bover's letters about this period are of so interesting a nature, that I avail myself of the opportunity I happen to have afforded me of making a few extracts from them. In his first communication after the outbreak, dated "Gosport, May 11, 1797," he writes thus:

"My Dear I have been in a most critical situation, but all is again well; I was, fortunately, much beloved by several of the ship's company, and that alone has saved me; their respect for me has increased much since the business."

In a subsequent letter dated on

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