stanced. Although, therefore, there is virtually and practically an effective power obtained which will subserve the purpose of propulsion, yet literally and actually there is no creation of power whatever. The only thing done, is to cause about one-half of the hostile force, which has hitherto been sustained as dead loss at the head, to expend itself behind the vessel, where it can be of service. Instead of two giant-relations of Neptune standing in the water and continually pushing against the stem of the moving vessel, one of them now goes behind and pushes at the stern, or rather at a long rod reaching to the back of the flanges of the revolving cone, through which rod he can bear a part of the resistance, although at the ship's length from it.

He

Another improvement calculated to promote speed has been made the subject of a patent by the veteran inventor, Mr. Richard Roberts, of Manchester. has designed the model of a steamer with two keels, to the stern-termination of each of which he proposes that a small propeller should be attached. He is not the only practical man who has begun to see the necessity of endeavouring to enable ships to carry more canvass, by giving them two keels. Vessels are often obliged to slacken sail, even when they have a tolerably fair wind, simply because they are too crank to stand under it. This necessity operates against them in two ways; it not only deprives them of taking full advantage of a favourable gale, but it practically increases the force of the wind for the sails which are left standing,—thus the more endangering them. The more canvass a ship can carry, the less she feels the wind; because she moves more swiftly in the direction it is blowing. This is evidenced in the highest degree by a balloon. Even in a hurricane no wind is felt, because the balloon travels at the same rate as the current.

The only other prospective improvement to which I can advert, is one which relates to safety. A

patent was some time since taken out by Mr. Burch, a gentleman of considerable experience in mechanics, for a "floating cabin." Mr. Burch conceived the very important idea-considering the little utility of boats, which are generally capsized in launching, or sunk by too many affrighted passengers leaping into them-of having each passenger ship fitted with a floating cabin. There is no practical difficulty in forming a cabin in such a manner that it would become a safe craft in case of the vessel foundering; but Mr. Burch's models were much too long and delicate, and not calculated to be safely launched from the ship in a heavy sea. Suitably modified, however, the contrivance would far surpass boats, which, in case of a wreck, prove in almost every instance to be a mere delusion.

In concluding this review of the changes which have taken place, it is encouraging to think that if we have arrived at the maximum speed, by present forms and contrivances, there is a prospect of further and more economical advances; and that besides increasing the rate of steamers, there may be originated a class of self-acting screw clippers, which, while proving profitable to their owners, shall facilitate the commerce and prosperity of the country.

ITS

MUSIC:

NATURE AND INFLUENCE.

BY MR. C. N. THWAITE,

ARCHITECTURAL MODELLER, MANCHESTER.

[Read before the Manchester Excelsior Society.]

MUSIC is one of the most graceful accomplishments that adorns this hard-working world, and renovates our overcharged existence. It is deeply founded in our nature; we cannot divest ourselves of it. Music is inborn in man. No traveller can say that in any country he has failed to meet with music, and dances, and instruments. Every shepherd is a singer and a player on an instrument; and what class of beings are more ignorant in the generally-accepted sense of the word, than the shepherds of the Alps or Pyrenees? yet there have been found among them melodies which have drawn forth the admiration of nations. Whether we consider the variety, beauty, or charm of the human voice in the different ages and sexes of individuals, we shall be equally struck with the capacity of this glorious power of uttering sound, which has been given to us by Providence as an inheritance: and if too we examine the structure of the ear, that mysterious organ which conveys sound from the external world into the deepest recesses of the soul,-we shall there find a wonderful connection between the vibrations of the outward world, and those of the world within. All the accents of joy, mirth, grief, pity, hope, remembrance,

there find a sympathising vibrating string, and it is in this sympathy that the power of music is found. Music is based on nature, and natural laws are the laws of GOD; music is based on the Scriptures, and it would occupy considerable time merely to read various passages in the Bible favourable to its practice. I may notice Moses on the shores of the Red Sea; the Jewish Captives in Babylon; Christ and His Disciples at the Mount of Olives; St. Paul with Silas in the dungeon; the first Christians; and those dark periods of the world's history, called the middle ages. Songs went with the soldier to the battle field, with the monk to his cell, with the martyr to the stake.

What a wonderful influence exists in the art of sound! It opens all hearts, engaging the interest, and drawing contributions even from those who, for want of instruction or a defective organization, are denied participation in its pleasures, yet willingly make sacrifices for those belonging to them, and step aside content with the feeling of having afforded a pleasure to others, which they themselves cannot enjoy. Why has music this power? and how does it reward our love and self-devotion.

It has this power, and is all-directing over mankind, because it touches every fibre sensually and spiritually, and gives body and soul sensations and ideas. The rudest nature thrills under the effect of its strains, and is soothed by its sweetness. Its sensual effect is in itself irresistibly enchanting for the mere sensual hearer feels that this trembling of the nerves penetrates to the inmost depths of the heart; that this physical delight is purified and sanctified by a hidden connection with the origin of our existence. But he who has experienced in his own person how music calls forth and leads at pleasure the most tender, powerful, and secret feelings of the soul, imparting brightness to its twilight, awakening it to a dreamy consciousness; he to whom per

ceptions and ideas present themselves as spirits diverting and raising him above the fluctuating play of feelings and emotions; who, in short, is conscious that our existence would be imperfect did not the world of sound supply the deficiency,—he best knows that the most intellectual pleasure the sense derives from hearing music, is merely an attraction to its spiritual fountain, from which are drawn purity, elevation of mind, the contemplation of a boundless world of ideas, and a new sphere of exis tence. The one is the all-penetrating, universallyprevailing power of sound; the other the promise of a higher and happier existence in which, knowing or anticipating, we confide, and upon which so many of us are wholly bent.

But its nature, like man's, is two-fold, partaking both of the material and spiritual. It has power to raise us from a crude and barren state of being to a more susceptible and ethereal existence, to soften and refine our feelings, to awaken ideas of pure and spotless humanity, to exalt us above humanity to the sphere of the Divinity; and in this mental elevation fill our hearts with love and zeal for all that is good and noble. But the spell of melody and harmony may also bury the unrevealed indwelling spirit in the alluring waves of excitement, obliterating from the soul the noblest feelings, and gradually leading it to that weak desire for sensual pleasure, which stifles the finest sentiments, and in whose train are found the strange twins satiety and insatiability, and that terrible condition of the mind which is expressed by indifference.

Having thus far introduced the subject, we will proceed to consider

1st, The nature of Music.

It has been already stated that the nature of music is two-fold, partaking both of the material and spiri tual. The ability to sing or play on any given instru nent is merely an exercise of mechanical power,