WEB 



W E I 



air 45 ditto, and folid contents, 



Carbonate of lime 



of iron 



Muriate of foda 

 of lime 



Grs. 



6 



3* 



contents are, carbonic acid i6i cubic inches, atmofpheric but it can awaken fenfation and fentiments near the truth 



and, with the afliftance of poetry, can be pointed to a 

 determined affeftion or paflion. It can footh affliaion, 

 it can fupplicate, it can animate and roufe our courage, 

 excite hilarity, and generate ideas of grace, innocence, and 

 content, without the interpretation of poetry ; but having 

 nothing to imitate in nature, like poetry and painting, 

 imagination muft afTift in finding fimilitudes. 



The fpeculations of Mr. Webb are not always free from 

 obfcurity, though his language (when not deformed by his 

 fondnefs for hath) is accurate and elegant. He favs, that 

 " mufic cannot give pain, like poetry and painting ;" but 

 extreme harfh difcords allowed to be occafionally ufed in 

 counterpoint, give pain to the ear, as intenfe as painting 

 and poetry to the eye and the mind. The author's chief 

 iUuftrations are from Milton ; and the work feems more 



Sulphate of lime 



Water, in Gardening, col. 2, 1. 40, r. Loudon. Col. 5, 

 L 23, ditto. Col. 7, 1. 36, ditto. Col. 10, 1. 30, ditto. 



WATER-Or^an. See Hvdraulicon'. 



Water, Fafes and Glajfes tuned by. See Armonica, 

 Lasus, and Hyppasus. 



Water Whimjey. See Whimsey. 



WATSON, Thomas, \n Biography,vi-i&\iOTa\n I590,and 

 was editor of the fecond coUeclion of Italian madrigals that 



appeared in England under the following title : " The Firft '"tended to (hew the leautles of Milton, than the analogies 



Part of Italian Madrigals Englifhed, not to the Senfeof the '''^'"'een poetry and mufic. The expreffion of mufic arifes 



original Ditfie, but after the AfFedion of the Noate." ^ore immediately from rhytlim than from the arrangement 



This coUeftion, as we are told in the title-page, includes ""^ "mbmation of found, and many of its imitative beauties, 



« Two exceUentMadrigalls of Mafter William Byrd's, com- Pe^haps all, are ideal. Mr. Webb's ideas in general are 



pofed after the Italian Vaine, at the Requeft of the faid ^^elicate, refined, and beautifully expreffed. But he never 



Thomas Watfon." The poet is as much diftrefTed for ventures to inftance a mufical compofition or fingle pafTage 



double rhymes to fuit the original ftanza and mufic of thefe "^'^'"^ remmds us of praftical mufic ; and it does not clearly 



appear what kind of mufic he moft approves, or indeed 

 what it is that he honours with the name of mufic. 



Mr. Webb was one of the firll in our country who ven- 

 tured to fay, that counterpoint and complication of parts 

 in difiimilar motion was an enemy to melody and expreffion ; 

 he quotes Algarotti's " Saggio fopra I'Opera in Mufica," 

 in confirmation of his opinions ; but RoufFeau preceded 

 both, in his " Lettre fur la Muf. Fran." pubhfhed in 1751, 

 when he firft developed his idea of " Unite de Melodie." 

 Mr. Webb's obfervations, ii.deed, abound with deep re- 

 fleftions and belle parole ; but we have not yet difcovered 

 what benefit lyric poetry or vocal mufic can derive from 

 fuch difcuflions. 



WEIDEMAN, , came to England about 1726. 



He was long the principal folo player, and compofer, and 



mafter for the German flute. He was a good m.ufician, 



and played fo well on the organ, that we remember Handel, 



in a Latin copy of verfcs, to the earl of Eflex, then at the at a rehearfal of an oratorio in Covent Garden theatre, 



fummit of favour with queen EHzabeth ; and addrelTes defiring him to touch a new organ juft finiihed by the 



Luca Marenzio, from whom moft of the madrigals were elder Byfield, that he might judge of its effefts in different 



taken, in another. parts of the theatre, in which he was obeyed by Weideman 



WE A RE, 1. 2, r. Hillft)orough. with confiderable abiliries. But in his produftions for the 



WEBB, fenior, in Biography, a favourite author of German flute, he never broke through the bounds of that 



Englidi catches and glees, and one of the moft fuccefsful mediocrity to which his inftrument feemed confined. 



madrigals, as his predeceffor, N. Yonge, in a former pub- 

 lication. That madrigal, indeed, which Byrd fet, firft in 

 four parts, and then in fix, feems original Eaglifti, and is 

 the beft of the coUeftion. 



This fweet and merry month of May, 

 While Nature wantons in her prime, 



And birds do fing, and beafts do play, 

 For pleafure of the joyful time ; 



I chofe, the firft for holly daie, 



And greet Eliza with a ryme : 

 O beauteous Queene of fecond Troy, 



Take well in worth a fingle toy. 



The editor feems to have been a man of fome learning, 

 as well as knowledge in mufic, as he dedicates the work, 



candidates for prizes at the catch-club during the moft 

 brilliant period of its inftitution in 1762. See Catch, and 

 Catch-Club. 



Webb, Daniel, efq. author of an elegant and ingenious 

 traft, intitled " Obfervations on the Correfpondence be- 

 tween Poetry and Mufic," 1769, l2mo. This author 



WEIGEL, , an excellent performer on the vio- 



loncello, whom we heard in 1772, at Vienna, in a grand 

 concert given to all the firft people of that imperial city, 

 and by the beft performers that could be felefted. Gluck 

 and his niece, a pupil of Millicco, and an enchanting finger, 

 were there, and ftie fung, fometimes to her uncle's accom- 

 had acquired confiderable reputation by two former differt- paniment on the harpfichord only, and fometimes with mort 

 ations in dialogue ; the firft, " An Inquiry into the inftruments, in fo exquifite a manner, that we could not con- 

 Beauties of Painting;" the fecond, " Remarks on the ceive it poffible for any vocal performance to be more 

 Beauties of Poetry ;" which had rendered the public willing perfeft. 



to receive favourably a third work from the fame pen. Between the vocal parts of this delightfiil concert, fome 



Much learning, extenfive reading, and a clafiical tafte, were admirable quartets, by Haydn, were executed in the 

 manifefted in this produftion, " On the Correfpondence utmoft perfection : the firft violin by Startzler, who played 

 between Poetry and Mufic." It is, however, more meta- the adagios with uncommon feehng and expreffion ; the 

 phyfical and lefs intelligible than his former tradls. The fecond violin by Ordonitz, a good performer in the era- 

 author feems to have conceptions difficult to bring forth, peror's band ; the tenor by count Briihl, one of the four 

 and out of the reach of common language to exprefs. He fons of the great Saxon min'ifter, an admirable dilettante, and 

 feems to concur with Rouffeau, that "mufic cannot nar- fine performer on feveral inftruments ; and the violoncello by 

 rate, nor precifely exprefs or paint any particular paflion ;" Weigel, the fubjedl of the prefent article. All the per- 

 formers 



