1822.] 
LIST,OF PATENTS | FOR) NEW INV ENTIONS() 
To, William, Erskine -Ceehrane,) esq.of 
Semerset-street, Portman:squarey; for cere 
tain .jmprovements ,in_ the, construction: of | 
lamps, whereby they are rendered. capabte 
‘burning concrete oils, animal fat, and 
other similar inflammable substances. 
—Feb,'23.- ' 
‘William Buckle, of Mark-lane, mer- 
chant; for certain improvements in mae 
chinery’ for shaping or cutting out irre- 
gular forms in wood, or any other mate- 
rials or} substances which admit of being 
cut by eatters, or tools revolving with a 
cireular motion, whether such motion be 
continuous.or reciprocating.—March 2. 
New Music and Drama. 
349 
Jolin Higgins, of Fulham, esq: for cer- 
tain’ improvements: in‘ the construction of 
carfiages.+-Marelr 2; 
Charles Yardley; of Camberwell; fora 
method of manufacturing glue from. bones, 
by means of steam.—March 2, 
John Thompson, of Regent-street, West- 
minster, for a certain improvement in the 
method of forming or preparing stecl 
for the manufacture of springs for car- 
riages, but principally applicable to all 
those’ usually denominated coach-springs, 
—March 2. 
John Ruthven, of Edinburgh, printer ; 
for a new method of procuring a mecha- 
nical power.—March 2, 
NEW MUSIC AND THE DRAMA, 
— 
Companion Glees, §e. arranged on the 
‘same succession of Harmonies as the 
Easy Lessons in Mr. Logier’s Compa- 
ation to the Chiroplast. Composed by 
J. Green. 2s. Gd. 
N this collection of harmonized me- 
/ odies, Mr. Green presents us with 
“Fhe Lord my pasture shall prepare,” 
ahymn bearing the title of “ Provi- 
dence ;” “Swiftly from the mountains 
brow,” a-descriptive song from Cun- 
ningham’s poems, and called “ Morn- 
ing); another from the same writer, 
entitled: “! Evening ;’ a duett, named 
“The Falling Leaf ;” and a trio, desig- 
nated“ The everlasting Rose.” With- 
out discovering any thing above the or- 
dinary cast of pieces of this description, 
we feel ourselves called upon to say of 
Mr. G.’s publication, that, in the quali- 
ties of its melodies, it is respectable, 
and that the harmonizations, if they do 
not exhibit much ingenuity or contri- 
vanee, are correct, and manifest a 
tolerable knowledge of the laws of 
composition, as they regard harmony. 
Numbers 1,2, and 3, of Sonatas, composed 
for the’ Piano-forte, by Joseph de 
vuPinna. 2s. each. 
' Though cach of these numbers con- 
tains but one composition, and the style 
ofithe ‘whole is simple and imitative, 
rather claborate .or clegant, they pos- 
sess soomuch merit of a certain kind as 
to rank among the valaable piano-forte 
productions of the day. Designed for 
te use of those practitioners who have 
not made any considerable progress in 
the power of execution, their passages, 
though not without animation, and even 
some degree of brilliancy; are easy and 
familiar in their formation, and ad- 
mirably suited to the useful purpose of 
the composer. If among grand’ or 
finished sonatas, they are not of a cast 
or magnitude to make any fonspi- 
cuous figure, as modest and unassuming 
compositions they have a distinguished 
claim to our commendation; and: we 
are but just to their author, in recom. 
mending them to the notice of the 
public. 
A Waltz, composed for, the Piano- 
Sorte. 2s. 
The subject of this waltz is. good, 
though not very novel, andis of a.cast 
to please the uncultivated ear. Though 
not characterized by any extraordi- 
nary strength of idea or general heauty 
of character, its melody moves with a 
pleasing ease and smoothness, while 
the bass is chosen with judgment, and 
an effect produced quite equal to that of 
the generality of pieces of the limited 
magnitude and consequence of the 
piece we are noticing. 
“Oh, Lady, touch thy Lute again,” an 
admired Ballad, composed by  S. 
Nelson. 1s. 6d. 
This song, the words of which are 
from the pen of Mr. W. Bygrave, is 
not of a cast to extort our culogium. 
If the passages are smooth, they are 
also insipid ; and, though they are net 
unpleasing in themselyes, they fail to 
constitute a distinct and unique me- 
lody. The accompaniment (chiefly 
arpeggio) is tolerably, good, but. the 
bass is not the best of which the treble 
admitted, nor does the conjoint eflect 
place the composition above the rank 
of mediocrity. 
“Young Jamie is a bonnie Lad,” sung 
by Mrs. Bland at Drury-Lane The- 
atre. 18. 
The melody of this little ballad, of 
two verses, is neither Scotch nor Eng- 
lish, but a compound, of both styles, 
with the fault, however, of partaking 
more of the English than of the Scotch, 
But, 
