152 Cursory Strictures on Modern Art. 



BEATING between the two ekatings." And, by means of 

 this inequaUty between the two oiiginal beatings, the in-, 

 equality of the unaltered tri-equal quint, and of the altered 

 one, will immediatelv appear. 



A good ear will perceive the inequality between the two 

 original beatings, in the case of those two unenial quints 

 being struck even in succession. And, in like manner, any 

 two imperfect quints, or any two imperfect major thirds, 

 may be respectivelv. compared bv strikmg them in succes- 

 sion, and bv carefully observing the difference between those 

 beatings which thev respectivelv produce. 



These are facts, with which Mr. Farey appears to be 

 wholly unacquainted ; for, in his Observations on the Stan- 

 hope Temperament, he, throughout, considers beats and 

 bp:atings as synonymous terms ; although it is most obvious 

 that they are con)pletely and distinctly different. 



I think, hovi'cver, that what I have said above will be 

 quite sufficient to heat him out of his error, and also to beat 

 into him those impcjrtant musical truths which both you, 

 Sir, and I, are equally desirous to be able generally to in- 

 culcate. 



I am. Sir, very sincerely yours, 



SlANIIOPE. 



XXI. Cursor^/ Strictures on Modern Art, and particularly 

 Sculpture, in England, previous to the RstalUskrnent of 

 the Royal Academy, i'?/ J. Flax man, E'sq.* 



An order to form a just estimaie of the benefit which sculp- 

 ture has derived from the exertions of the present sera in 

 Eha;land, it will be necessary to take a cursory view of this 

 art in Europe previous to the period at which the Royal Aca- 

 demy was established in London; and to observe with a 

 little more accuracy its progress in our own country. 



In Rome, the centre from which the arts have emanated 

 for centuries past to the surrounding counlries, aiK)ut 150 

 years since, the taste of Bernini, the Neapolitan sculptor, 



* Froia The Ariht. 



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