REVIEW.-Skelton's Illustrations of Arms and Armour. [Feb. work (which, when made, may be frequently overlooked,) are rendered unnecessary. 156 King Harry the Seventh," and the heirs of his body; yet it is remarkable that in his Will, in giving directions for his funeral effigy, he desired to be represented "holding betwixt his hand the Crown which it pleased God to give us with the victory of our enemy at our first field."-p. Ixiii, We must now briefly notice the Wardrobe Accounts of Edward the, Fourth, which form the latter part of this volume. They are chiefly valuable for the description they contain of the costume of the monarch, and of the numerous relations and dependants to whom he was accustomed to distribute articles of dress; and in this point of view, combined with the few pictures which we possess of that pepiod, might prove of the greatest utility to the historical painter, or the theatrical performer, were the members of those professions more ready to avail themselves of such assistance. In addition to its curiosity in this respect, however, we find that, "little as such a record might appear to promise of historical facts, it establishes one of very great importance." This forms a contradiction to the assertion of Horace Walpole, in his discussion regarding Perkin Warbeck, that the Duchess of Burgundy was married out of England in 1467, seven years before Richard Duke of York was born, and never returned thither;" from which Walpole argued, that she could not have possessed the knowledge necessary to school an impostor, and that this increased the probability that Richard was the true Duke of York. It is now shown, by these Wardrobe Accounts, that "the Duchess paid her brother's court a visit in July or August, 1480,-less than three years before Edward's decease," at which time the Duke of York was about eight years old; and that, consequently, Margaret was personally acquainted with her nephew, and thus enabled to select a lad resembling him in person, and to instruct him, in the manner stated by Lord Bacon and other writers, whose accounts are restored to their original value. 66 With very copious Indexes the Editor has combined an elaborate compilation of biographical and explanatory annotation, a useful plan, by which all the passages on one subject are brought to illustrate each other, and perpetual references in the body of the Skellon's Illustrations of Arms and Armour, from the Collection at Goodrich Court, Herefordshire. 2 vols. imp. 4to. IT is not from any wilful neglect that we have omitted to notice this elegant and highly instructive publication since its completion, but solely from the number of other works which had the earlier claim to our limited space for critique. That our best wishes attend it is, we hope, clear from the occasional mention in our columns, and we assure its author that our delay has proceeded from a desire to do it ample justice. We have before made mention of Goodrich Court, imitated from the domestic architecture of the time of Edward II. and which perhaps sheds more lustre on the talents of that eminent architect Edw. Blore, than any other specimen of his skill. We have no hesitation in saying that it is the most picturesque building in England, and this is what Gothic edifices in our opinion ought to be. When we contemplate every minute part as taken from original authority, we behold the deep research of the antiquary adapted to produce the best effect by the artistic hand of a master. Goodrich Court has already become celebrated, and will be still more so as each renewed summer urges a visit to the beautiful banks of the Wye; for the varied and extensive scenery which as a panorama surrounds this building, has equal claims to admiration as the place itself. Calculated both from locality and appearance to excite great expectations, much was requisite to prevent disappointment. Nor have the exertions and liberal expenditure of Dr. Meyrick been made in vain. The house is full of interest from one end to the other. Sojourners within will be entertained by a choice assemblage of paintings, and a well-selected library, artists delighted by various objects of antiquity and specimens of good taste, especially by that chronological arrangement which presents a useful series of furniture and decorative ornament, never before attempted; and the public generally will be gratified by the exhibition of one of the most instructive collections of armour 1831.] REVIEW.-Skelton's Illustrations of Arms and Armour. now existing in Europe. But as it is impossible in the transient glance of one visit to remember more than the coup d'œil which this most important curiosity presents, Mr. Skelton has wisely obviated that regret by the handsome publication now before us. We have already spoken of the accuracy and neatness of these engraved outlines, the utility of the drawings being made to scale, and the elegant arrangement in every plate; we have congratulated Mr. Skelton on having had the pen and pencil of Dr. Meyrick to write the letter-press and make the drawings, both of which in our opinion are far superior to what appeared in the "Critical Inquiry," and we have hailed this production as supply. ing whatever remained to be wished for on such a subject. We shall now endeavour to show what a vast mass of error is destroyed, and how much important information may be gained from these volumes, which may be regarded either as a valuable supplement to Dr. Meyrick's former work, or as complete in themselves. In an introductory dissertation replete with deep research and various reading, we are shown how far our credulity has been hitherto imposed on in various parts of the world, the real utility of actual specimens, and the advantage of a comparison of these with the detailed information of such writers as are now neglected. It is a maxim with us that time is never wasted in arriving at truth, and this we think answer sufficient to those who still would be content with our former ignorance; without undertaking to prove, as we readily could, how requisite it was in the instance before us to a due understanding of ancient writers. "It was the Emperor Charles V." says the Doctor, "who, with all the ideas of parade that had distinguished Maximilian, first collected armour for the purpose of show, and this he placed in the castle of Ambras in the Tyrol; Ferdinand his brother and successor adding to its extent. Previously the arseuals contained weapons and munitions of war for actual service, and the suits were kept in closets, thence termed armories. Spoils taken from an enemy had indeed at all times been subjects of exhibition, but body armour, though bequeathed as of value, from the expense of new suits, was continually altered to meet the change of fashion." Again : 157 "This new mode being commenced by an Emperor, whose renown not only made him envied, but imitated, through a spirit of rivalship, was speedily adopted by the sovereigns his neighbours, and the petty princes of his own empire, traces of which are still to be met with in that interesting country. From the circumstances already noticed, few specimens of armour earlier than the time of his father were in existence; but it was easy to use contemporary ones, either as they were, or with some fanciful alterations suggested by the pageants of the time, and assign to them names of antiquity. This idea, instead of being censured, was as readily copied as had been the spirit of collecting, and the more sedulously as other parts of Europe do not appear to have possessed suits of armour of so old a date as those in Germany." The writer then goes on to adduce a variety of instances, all showing that "this method of arranging armour involved falsehood in its very principle;" and we are then told that "the armoury from which the following engraved illustrations have been taken, was the first one formed on the basis of true chronology, decided on the most careful examination of authorities, and though by no means equal in extent to the splendid collections on the continent, is perhaps greater in variety than any in existence." Most of the descriptions which accompany the plates are introduced by a short historic preface, well calcu lated to please and interest the reader, and which serves to neutralise the dull tautology of a catalogue; and "with respect to the military terms and designations, as they have been taken from the writers of the middle ages, the corrupt and varying orthography of those times has been preferred to an improved and fixed mode of spelling, that the identity may the more readily assist those who seek for explanations. The collection at Goodrich Court commences with the rude weapons of savage life, in wood, flint, stone, or slate. Next are the arms and armour of copper alloyed with tin, and then follow in the order of chronology such as are of steel. These are contained in the Entrance Hall, the Asiatic Armoury, the South Sea room, the Hastilude chamber, and the Grand Armoury; and this publication proves that, works of art, many of the specimens are highly valuable singly, and are collectively so, as showing at one period its flourishing state, at another its depression." as 158 REVIEW.-Mrs. Wilson's Songs of the Ship. We beg our readers to examine this beautiful work, and we will venture to predict a purchase must follow; for, notwithstanding the insight we have wished to give of its contents, we can assure them that, high as may be their expectations, they will not be disappointed. We conclude in Dr. Meyrick's own words: "A due knowledge of armour is absolutely necessary to all who undertake the task of topographers, in order correctly to describe a monumental effigy, a painting on glass, or an ancient seal; from thence it is that the true date, if wanting, can be ascertained. It is equally instructive from the same cause to the antiquary, and is in a great degree serviceable to the historian. The utility of a collection," and therefore of Mr. Skelton's work, "formed on the principle of that at Goodrich Court, will be evident, when it is considered that there is no surer criterion of date than costume; and recollected that down to the time of Charles II. our ancestors represented every subject they had to produce in the fashion of their own time." Songs of the Ship. The Poetry written and WE have at various times noticed, and always with praise, the productions of this lady, whose genius, imagination, and command of poetical imagery and polished diction make her sure of success in any walk of poetry which she may attempt, except perhaps the highest branch of the lyric, which would require more of the lima labor than she would be willing to bestow. We have, however, more than once, in such sad seriousness as becometh our gravities, counselled her to eschew song-writing, and apply herself to form some such extensive and elaborate poem as might be a monumentum ære perennius. But, alas! what boots it to offer such sage counsel, when the facility with which her plastic powers enable her to weave a hundred such lays as charm the public -whilst she would scarcely achieve the half of such a work,-draws our fair favourite of the Muses the contrary way. It seems too that songwriting may become not only perhaps her forte, it has become her private pet. And if so, why, "naturam expellas furcâ, tamen usque recurrit." Well, be it so; for really the talent [Feb. which this lady possesses for songwriting is such, that we could ill spare it; and thus the certainty of the advantage we have in esse must make us easy under the deprivation of what is only in posse. Before we enter upon an examination of the very elegant work before us, we must premise that we feel astonishment that such an one should never before have been thought of, or at least accomplished. When we consider how charmed the musical world has every where been by the collections of the Popular Airs of various countries, which have been formed by our best composers, especially in the attractive work of Mr. Moore, surely there was every reason to suppose that the public would be equally delighted with Naval Melodies. One principal cause of the charm which attaches to such National airs is in the originality, vigour, and impressiveness which they all more or less possess. But surely Naval Melodies have a nationality quite as distinctive as the popular airs of any country whatever. For the Sea Melodies of all regions have many peculiar characteristics. We cannot, therefore, but feel satisfaction that this manifest deficiency has been at length supplied, and we can with truth say most ably and successfully supplied. The work is dedicated to his Majesty, and is introduced by a sensible and elegant prefatory address, of which the following is the principal portion: "The idea of the present work originated in a wish to revive some of the beautiful Melodies of the sea and the ship, which, for want of a modern versification (like other gems of the deep), have too long lain hidden beneath the weeds of oblivion and neglect. The airs of which the present collection chiefly consists, rank, it is conceived, amongst the best of their class; and in adapting words to them, the author has been scrupulously careful not to weaken, by a too highly polished phraseology, or the fiction which poetry allows, those manly and generous sentiments so peculiarly the characteristic of the British sailor. The various composers who have plied the oar to speed the light bark on its way,' by assisting the author in arranging and modernizing the airs, and furnishing piano-forte with herself to retain the original character accompaniments, have been equally careful of the music, and not by over-embellishment, or the foreign aid of ornament,' to injure those beauties whose chief attraction is derived (like all other charms) from sim 1831.] REVIEW.-Mrs. Wilson's Songs of the Ship. plicity and truth of nature. To render the Songs of the Ship an entirely English work, which may be equally acceptable to the drawing room circle at home, or the voyager during his tedious sojourn in the cabin, has been the author's aim. Of the wide space, indeed, which separates plan and execution, the author is fully aware; and when she compares what she has effected with the beau-ideal which in composition floated in her mind, she is deeply sensible of defects; and with a feeling of much timidity ventures to launch her work on the tide of public opinion. At the same time, her consciousness of having exerted herself to the utmost of her abilities to steer clear of all that was objectionable-her experience of the indulgence with which a British public estimates talents, however humble, employed for its gratification,—and, above all, that shield of patronage which has been graciously thrown around her from so high a source,—make hope predominate over fear. Whether the present Work is destined to founder on the rocks of critical severity (as many a better pilotted bark has done before it), or whether at some future period it may again hoist sail, in a new volume, depends entirely on the favouring breeze with which the public shall at present speed its course." To proceed to particulars, the work is brought out in a most elegant style, worthy of the royal dedicatee, and consists of twelve Songs furnished with symphonies and accompaniments in the very first style, holding a middle course between the pedantic elaborate ness of those set to Thomson's Scot tish Airs by Kozeluch, Pleyel, Haydn, &c. and the somewhat too plain and thinly filled up style adopted in Mr. Moore's National Airs. The symphonies are well adapted to the characteristics of the airs respectively, and the accompaniments will be found very effective; they keep the tones well a-going, and sustain without overpowering the singer. We have not, indeed, hunted for consecutive fifths, or forbidden progressions, or any other negata; but assuredly such have not met our observation. Both the author and the com posers have fully redeemed their pledge. The latter have done all that they ought with the airs, and no more. Those airs are some of the most beautiful of their class; and there has been admirable dexterity shown in adapting the new words to the old airs, even greater, we can venture to say, than was in some instances shown by Robert Burns in respect to the Scottish airs, though he was the most accomplished song writer this country has ever pro 159 duced. We can with truth say that "MY SHIP ROCKS IN THE Offing. Come! let me kiss these tears away, That only mar thy beauty; When England's foes are scoffing? I MY SHIP ROCKS IN THE OFFING. told thee, when the voyage of life Or lubbers will be scoffing; For him who ploughs the billow, On home's domestic pillow! And gone-by dangers scoffing, MY SHIP ROCKS IN THE OFFING!" "THE MOONLIGHT BARK. Glitt'ring in the moonbeam's brightness, 160 Silent o'er the breast of ocean, to 29 Yon bark how like the upright mind, That keeps the steady path of duty, Leaving the world's vain cares behind!" Thus have we endeavoured speed the light bark on its early way; and we have only to offer our best wishes, that with swelling sails, from the favouring breezes of public applause, it may, after a swift and prosperous trip, cast anchor in the haven of permanent reputation. And glad shall we be to learn, ere long, that another equally elegant and trimbuilt wherry" is ready for launching by the same fair hands. REVIEW.-Burke's Royal Register.-Fine Arts. The Royal Register, by P. J. BURKE, presents a genealogical and historical view of all the Royal and distinguished [Feb. diplomatic personages of Europe, arranged in the manner of our Peerages. Like the ANNUALS, amongst which this publication may be very properly classed, it is of German origin, and, as the editor admits, is an adaptation of the Almanac de Gotha; a work which has reached its sixty-eighth edition, although comparatively unknown in England. The Royal Register is divided into four parts. The first embraces the Sovereign princes of Europe, in alphabetical order, with all the members of their families; the second, the Princes not invested with Sovereign power; the third, all the Ministers of State, &c. of Europe; and the fourth part contains an historic outline of the Sovereign Houses of Europe, which, the editor states, "is to be continued in the ensuing annual volumes." FINE Art of Miniature Painting on Ivory. By : Arthur Parsey. Longman and Co. This interesting little work is even worthy the attention of men of experience in the art of which it treats, and to the tyro is almost invaluable, inasmuch as it initiates him into all the mysteries of the profession. It may lead to a delightful and intellectual mode of recreation and no accomplishment can be more pleasing than that which enables us to produce, by our own efforts, the similitudes of those who are dear to us. Any amateur of tolerable taste, we are assured, may render himself capable of producing a very creditable specimen of miniature painting, by a reasonable portion of perseverance in Mr. Parsey's system. The volume contains in itself everything that an acute teacher could place before his pupil. There is so much of geometry as is necessary to the art; minute and valuable directions are given as to the method of holding pencils, hatching, and stippling; and last, though most important, there is given a chapter on the use of the scraper, an instrument of Mr. Parsey's introduction, and to which he attaches very considerable importance. This chapter is very curious, and deserves an attentive perusal by the artist in oil. By a neglect which is certainly culpable, the volume has been suffered to go through the press with so little care, that many the pages are disgraced by the most gross typographical errors. of A finely executed portrait of her present Majesty forms the frontispiece to the volume. ARTS. Hogarth Moralized.-Mr. Major's very they not only far exceed all the former A more interesting accompaniment to the |