In consequence of the many calamitous fires that have recently occurred, we consider it a duty to give as much publicity as possible to the different Stations of the Fire Engines of the London Insurance Offices; so that immediate notice may be given to the resident Fire-men at the nearest Station, on the breaking out of a fire. Ratcliffe Highway-Sun.

Lower East Smithfield-Imperial
Ditto Nightingale Lane-Royal Exchange.
Well Close Square-Phenix.
Bishopsgate Street Without, Sweet Apple
Court-Union.

Threadneedle Street, near the South Sea
House-London.

Upper Thames Street (Lambeth Hill)-
Royal Exchange.

Carter Lane, near St. Paul's-Phaniz.
Earl Street, Blackfriars-Atlas.

Ditto............Ditto-Globe.

Little Bridge Street, Blackfriars-Handin-Hand.

Fleet Market-Eagle.
West Smithfield-Hope.
Holborn Bridge-Sun.

Well Street, Oxford Street-Westminster.
Swallow Street, Ditto-Sun.

Warwick Street, Golden Square-Royal
Exchange.

Baker Street, Portman-square-Union.
Horseferry Road, Westminster-Globe.
Regent Street, Piccadilly-County.
Charing Cross-Phænir.
Hungerford Market-British.
Ditto.........Ditto-Imperial.

Bedford Bury (Covent Garden) — Westminster.

Commercial Road, Lambeth-Sun.
Horslydown (John Street)-Sun.
Weston Street, Bermondsey-Albion.
Thomas Street, in the Borough-London.
Carter Lane, Tooley Street-Phoenix.
Ditto............Ditto-Royal Exchange.

A CONSTANT READER will find in Betham's Baronetage, or indeed in every Ba. ronetage, that Sir Edmund Bacon is styled the Premier Baronet, as the lineal descendant of an early Baronet.

DR. BOOKER writes thus: "I feel much obliged to Mr. Urban's intelligent Correspondent, who so very handsomely corrects the venial anachronism into which I had fallen, respecting a belief of Shenstone's being the author of the notices concerning Spence. On referring to the third volume of Shenstone's Works, printed for J. Dodsley in 1769, I perceive a short note subjoined in the last Letter, stating that he died on the 11th of February 1763. The volumes whence I transcribed the MS account of Spence, &c. were presented to me by a gentleman re

siding near the Leasowes, who assured me they once were Mr. Shenstone's property.' This, no doubt, was the case, having his accustomed vignette of a part of the Leasowes pasted on the inside of the covers. The notices in question were evidently written by some relative, or intimate friend, who was well acquainted with the facts thus circumstantially detailed. If a friend, probably by J. Dodsley, the surviving brother of him whose death is so particularly recorded in the MS. Nor is it unlikely (with the exception of what relates to the melancholy dissolution of Spence) that they were transcribed from private memoranda of Shenstone."

R. C. communicates the following information: Vol. LXXXIX. p. 572. “Lord Hill is not the brother of Lord Berwick, but a younger son of Sir John Hill, bart. of Hawkestone, Salop, a distant relative of Lord Berwick."-P. 578. "Is there not a mistake either in the copy, or in the origiual inscription of the antient ring here described? I presume it is, or was intended to be, "al as God well," that is, "as God pleases.”—P. 594. “Alexander Ross's Medicus Medicatus' may be seen in the Bodleian Library, as appears by the printed catalogue, in which there is no mention of Sir T. Browne's treatise De Lucis Causa et Origine'."

ANTIQUUS (Vol. LXXXIX. ii. p. 482), who inquires after the family of Lambe, is referred to a pedigree of that family, under Hetton on the Hill, in Mr. Surtees' first vol. of the Hist. of Durham; the last heir, it is believed, left Anthony Storey of Newbottle his executor.

T. P. remarks, "You give the statement of a Sussex Experimentalist,' the errors of which are so conspicuous, that a child who had only passed through the four first rules of arithmetic could not fail to detect them."

A. Z. (p. 2) would much oblige G. H. W. by informing him, "whether John Hanger (who died in 1654) was father or brother of George, who died in 1688. The inscriptions to the Hangers in Driffield Church would be very acceptable. Sir George Hanger of Driffield, knt. was, I presume, son of George, who died in 1688. The purchaser of Driffield, John Hanger, is stated in some of the Peerages to have been of the family of Aungier."

A CORRESPONDENT asks, "Is it necessary that two Churchwardens should be returned for each parish?"

Mr. GODFREY will find the first of the Series of Letters from the Continent printed in p. 25 of our January Magazine.

than your Reviewer represents them. The differences are so great, that Latimer, Cranmer, Ridley, and many others, who perfectly knew what Popery was, chose rather to suffer death at the stake, than to conform to it. If an unlearned Protestant were asked, why have you such an abhorrence of Popery? he might very justly answer, Because it was abborred by Latimer, Cranmer, and Ridley ;-because they "resisted it unto death," because they "gave their bodies to be burned," rather than continue in it-and because our Church says, that the idolatry, which it practises, is "to be abhorred of all faithful Christians." The sacrifice of life, and the strong language of our Liturgy, were not the effects of irritation and resentment, but of the most deliberate and pious conviction.

But to return to your Reviewer. He states the Churches of England and Rome are distinguished not so much by differences, as by omissions! The omissions" are the very "differences," which distinguish the two Churches. The doctrines and usages

omitted by the Church of England

contain the essential differences, on account of which our martyred Reformers laid down their lives.

The Reviewer represents our Reformation as the mere removal of lichens and mosses, that is, excrescences, exterior to the substances on which they are found. In this he is greatly mistaken. The corruptions of the Church of Rome, abolished by the Reformation, were not superficial matters of indifference, but the very essence of Popery, such as its idolatry in the sacrifice of the mass, and the idolatrous doctrine of transubstantiation, which led to it; its idolatry in the invocation of Saints; its blasphemous fables and dangerous deceits," in the doctrine of purgatory, &c. These corruptions of the Romish Church are, unhappily, so far from being mere "lichens and mosses," that they are articles of faith, which the Roman Catholick Clergy, and all converts to Popery *, are sworn to maintain to the last moment of their lives.

* See the "Ordo Administrandi Sacramenta," p. 56. published by Keating, London, 1812.

I will only observe further, that the question, whether the invocation of Saints, included in the Declaration against Popery, is idolatry or not, is not simply a matter of opinion and dispute between the Bishop of St. David's and Mr. Wix, but is a criterion of doctrine, which distinguishes Protestants from Papists, and is, therefore, as well as transubstantiation and the sacrifice of the mass, an effectual test of Popery. These are the offences against true religion, which make the state of the Church of Rome to be "so far wide from the nature of the true Church, that nothing can be wider t."

But the Reviewer will, perhaps, form a correcter view of the impracticability of the projected union, as well as of some of the pernicious tendencies of its proposal, if, in addition to the Protestant objections, which have been made to it, he will read a Tract by Mr. M'Dermot, a Roman Catholick, on the subject, published by Keating, 1819. S. T. P.

Mr. URBAN,

23, Old Bond-street, March 14. HE writer of the article in your

T Magazine for February, under the head of Lucky Hits, p. 127, appears not to have been aware that the copy of Geyler's Navicula Fatuorum 1510, sold by Mr. Saunders, of Fleet-street, for 6s. to Mr. Boone, was not only imperfect in several places, but was so stated on the first leaf, and by the auctioneer at the sale. Mr. Edwards's copy certainly brought 421. but it was from the circumstance of two unlimited commissions crossing each other. Since the fever of that time several copies have occurred in the sales, and the last was sold in 1819, at Mr. King's, for 2l. 10s. The copy imported by me last year had been purchased at Sandras' sale for 11 francs, and was bought at the usual price on the Continent (24 francs).

The only use to be made of the copy in question would be in the perfecting another. I have been led to give these particulars, as from the statement in your pages it would lead a person unacquainted with the fact to suppose that it had escaped observation. R. THIPHOOK.

Homily for Whitsunday, Part II.

ACCOUNT

ACCOUNT OF THE ANTIENT SCULP

TURES IN THE ROYAL MUSEUM AT
PARIS; WITH REMARKS BY MR.
FOSBROOKE. No. II.

(Continued from p. 136.)

V. ALEXANDER SEVERUS. A Colossal Bust. The drapery of the Paladamentum is in excellent style. (Visconti, p. 3.) Winckelman says, (Art. L. vi. c. 8) "We do not know of any statue of Alexander Severus. This Bust belonged to Pius VI. The pretended head found at Obircoli is an Elagalbalus. In the Florentine Museum are, however, two busts of this Emperor; one in a toga, the other in a cuirass. In the Palais Royal Gems, Tom. ii. pl. XLVII. is a portrait. They are, however, very rare."

VI. STATUES OF BARBARIAN PRI

SONERS.

"We see (says Visconti, pp. 3, 4) by the costume of these colossal figures, of which the draperies are executed in porphyry, that they represent some Barbarian Princes, who had adorned the triumphs of some Roman Emperor of the third century, for the style of the execution denotes this period. The heads and the arms, of white marble! are restorations of the 17th century." The constant cos tume of Barbarians upon ancient monuments are anaxyrides, or loose Turkish trowsers, and a bonnet, crooked forward, like the Phrygian. In this marble we see the bad effects of injudicious restoration.

Vil. Lucius VERUS. A Colossal Bust. His head is covered with a fold of the toga, and crowned with wheatcars, according to the costume of the Fratres Arvales in the rite of sacrificing. (Visconti, p. 4.) In the Villa Borghese (says Winckelman, Art. 6, 7) are three busts of Lucius Verus; one of extreme beauty, larger than life. The most rare head, a portrait of him in his youth, is at the Ruspoli Palace. There is also a bust at the Capitol. Of the three at the Villa Borghese, two are copies. In the Florentine Museum is a statue found at Palestrina, to which is adapt ed a head of Verus, taken from a bust of the Villa Mattei; and another bust found near the Porta Major. The French Museum has three busts; one taken from the Ducal Palace of Modena; another, from the Villa Albani; and this, which was before at the Chateau d'Ecouen.

VIII. ANTONINUS PIUS. A Colossal Bust. It is in the same costume as the preceding article (Visconti, p. 4), and came from the same place. His portraits are common. There is a bust at the Capitol, another at the Florentine Museum. Colossal heads are to be seen at the Palaces Farnese and Borghese, and at the Castle of S. Angelo. A head from Adrian's Villa is in the Pio-Clementine Museum.

IX. JUPITER SERAPIS. A Colossal Head. Paganism has sometimes confounded this God with the Sun; at other times with Pluto. The hair of the head is that of Jupiter; the Modius, or bushel, which surmounts it, is a symbol of the benevolent deities, and an attribute of Serapis. (Visconti, p. 4.) All the figures of Jupiter Serapis are of the later ages, not older than the Ptolemies. (Macrob. Saturn. L. i. c. 7. p. 179.) Upon a gem in Stosch the modius accompanies the head of Jupiter Philius; and the distinction of beads of Serapis or Pluto from those of Jupiter is the disposition of the hair. In the former, it is turned backwards in front, as occurs upon three Serapises at the Villa Albani, the Villa Pamphili, and the Guistiniani palace. In one gem the beard is forked. (Winckelm. Art.4. 2.) Count Caylus (Rech. v. 187) observes, that the Romans did not adopt the symbol of the modius before the reign of Hadrian. According to some authors, the modius distinguishes Serapis of the Nile, because it symbolizes the fertility of that river. The modius upon the heads of Deities and that upon coins differ in form. The latter has feet.

X. TRAJAN. A Colossal Head, in a civic crown. Next to the celebrated column, the finest specimen of the art of his time is the colossal head at the Villa Albani (Winckelm.); and there are or were two busts in the French Museum, of which one belonged to the same Villa, but the French one is not the finest. There is another colossal head, crowned like this, at the Capitol; another, at the Farnese palace; and a third, supposed to have belonged to the statue upon the column, in the palace of the Car. dinal della Valle. (Mongez, Rec. d'Antiq. 14.)`

XI. ESCULAPIUS. A Colossal Bust. His head is wrapped in a bandage, or

sort

sort of turban, which occurs in many images of this God, and in some portraits of antient Physicians. The fea. tures, beard, and hair, though resem bling those of Jupiter, have not his majestic character. (Visconti, p. 5.) The fine Hygeia in the collection of Mr. Hope, which the Author of these Remarks illustrated, has a bandage round the head. The assimilation of features to Jupiter is presumed to have been founded upon the antient opinion, that the son more often resembled the grandfather than the father. The finest known head of Esculapius is at the Villa Albani.

XII. PEDRA AND HIPPOLITUS. A bas-relief. This marble once formed the face of a tomb. The story is represented in two acts. On the left, the son of Theseus rejects the seductions of Phedra and her Nurse. The Temple of Diana, in the back-ground, alludes to the love of Hippolitus for the chase and the purity of his manners. On the right, the same hero is hunting the wild boar of Philius, of which Seneca, the Tragedian, has made men. tion. (Visconti, p.5.) Bas-reliefs thus deDominated are common; but, as it was the Nurse, not Phedra, who made the declaration, (See Monum, ined. ii. 102. Pitt. Ercol. 7. iii. tav. 15. Bartollant. tav. 6), and there have been numerous wrong appropriations of marbles to this story, it may be said of Visconti's account, without wholly rejecting it, that it is hot clearly beyond doubt a Phedra and Hippolitus, though supported by the high name of Visconti.

XIII. THE INDIAN BACCHUS. A Colossal Bust. The mythological Conqueror of the Indies. (Visconti, p. 5.) These figures are quite common; and occur on all sorts of monuments. Bacchus (says Mythology) let his beard grow during his Indian expedition, and therefore was so represented, when it was intended to depict him as Conqueror. The figure was intended to combine the ideal beauty of manhood with youth. The bearded Bacchus of the Hamilton Vases (vol.i.) is among the best.

XIV. VASE, in form of a CRATERA, adorned with masks, Sileni and Fauns, and other Bacchic emblems of excellent execution. It is engraved by Piranesi. (Vases, pl. 24.) It is placed upon an hexagonal altar, of which the three largest faces are concave, and the three smaller alternating. Upon

one of the first is a priest, crowned, and in Greek costume, making offerings upon a small altar, placed between two laurels. It is probably a quindecimvir; for this was the appellation given by the Romans to a college of fifteen priests, who preserved the Sibylline oracles, and were attached to the worship of Apollo. They wore a Greek costume. The tripod of this God, surmounted by its cover (cortina), upon which is a raven, was one of the attributes, of the same priesthood. The crown of wheat-ears is a symbol of the Fratres Arvales. These two priesthoods were probably united in the same personage. This altar is remarkable for delicacy and richness of execution, as well as perfect con servation. (Visconti, p. 6.) The Sibylline Books were certainly in the custody of the Quindecimviri; but there is an attribution of the symbols of Apollo, and the Fratres Arvales, apparently forced in to furnish a plaúsible account. Possibly the altar commemorates a Vow to Apollo by one of the Fratres Arvales.

XV. THE SAUROCTONOS. A Statue. Praxiteles worked, in bronze, a young Apollo shooting an arrow at a lizard rampant, whence the appellation, according to Pliny, of Sauroctonos, or lizard-killer. Many imitations of this celebrated statue have reached our æra. None is more entire than this. It is of Parian marble. It came, as well as the whole Borghese collection, from Rome to this Museum. (Visconti, p. 7.) Winckelman CODtends, that all these statues denote Apollo impuber in boyhood; and they have the symbol of youth, legs cros sed. See Hist. de l'Art. VI. 2. See too Monum. Ant. Ined. No. 4, for one of the Villa Borghese Sauroctonoi; for there were two in that collection.

XVI. THE DANCERS. Bas-relief. Five young women, holding each other by the hand, dance around a temple of Corinthian architecture. They give an idea of those choirs, where the chaunting of hymns and the dance were united to embellish the feasts of Paganism. (Visconti, p. 7.) Temples of the Corinthian order were appropriated to Venus, Flora, Proserpine, and the Water-Nymphs, be cause the elegance of the foliage, flowers, and volutes, which accompa nied this style, harmonized with the tender and delicate beauty of these Goddesses.