154: 
thermometer into the centre of a growing 
tree, and another into a block of wood of 
equal thicknefs with the tree, he found on 
comparifon, that the latter thermometer 
agreed exactly with one in the open air, 
but that the range of the former in 
a variation of external’ temperature from 
35° Fah. to 78 F. was only from 48° F. 
to 66° F. that whenever the atmofpheric 
temperature was lower than 57° F. that 
~ 
REVIEW OF NEW. MUSIC 
Review of New 
ufical Publications. 
[March 1, 
of the tree was above ; and if on’the con- 
trary the heat of the air was higher’ than 
57° F. that of the tree was inferior; 
hence a new. and important analogy be- 
tween the cold-blooded animals and ve- 
getables is afcertained, and which we 
hope will induce other philofophers to 
turn their attention to the fame fubjeét, as 
being one that! requires and will amply 
repay their moft careful inveftigations. 
AL PUBLICATIONS. 
4. F. CG. Kaollnann's Vindication of a Paffage 
in hisPraGical Guide to Thorsugh Bafs, againft 
. an Advertifement of Mr. M.P.King. 15.6d. 
Friary, St. Fames’s Palace. 
HIS VinprcaTion ‘is drawn from 
IL Mr. Kollnsann by certain paflages 
in a General Treatife of Mufic, lately 
publithed by Mr. King, in one of which, 
he fays, ** Thefe principles. (meaning his 
own), which have never yet ceafed to be 
followed, and which will (till be the doc- 
trine of the greateft mafters, after his 
(Kollmann’s) cobweb fyftem is configned 
_ to oblivion, are 2bfurdly and ignorantly 
called obfolete; and that which has never 
been dilufed is, with equal correétnets, 
faid to be revived.’ And in another, 
«¢ His (Kollmann’s) innovating fyfem, 
not only annihilates all the higher branches 
ef harmony, but, compared with the re- 
ceived principles, which he arrogantly at- 
tempts to overthrow and fupplant, and the 
crude notions he would fubititute in their 
place, are at once puerile, fallacious, and 
incomplete.” Mr. Kollmann, by way of 
retort to this charge, the harth /anguage 
of which, at leaft, we mult difapprove, 
produces abftra&ts from his own Effay on 
Mulical Harmony, and Mr. King’s fimi-. 
lar publication, in order'to prove that Mr. 
King, at the very moment of cenfuring 
his (Kollmann’s) Effay, borrows trom jt 
entire paflages and examples: theie are 
given both in notes and words, and, if 
faithfully-tranfcribed, certainly bring home 
‘to Mr: King the charge of plagiarifm to 
a confiderable extent. Mr. Kollmann, 
however, does not flop here, but even in- 
timates that Mr. King does not COMPRE- 
HENB what he borrowed, he having‘ ful-- 
ly tranfcribed a term, and a whole period, 
which ought to have been mentioned in a 
table of errata to the quoted Effay,” 
~ It is always with pain, that we fee fei- 
entific ftri€tures brought: forward iii acri- 
4 
monious and irritating language, an error 
to which Mr. King’s irafcibility has cer-_ 
tainly fubje&ted him, and by which he has 
given great advantage to his more patient 
and difpaffionate antagonift. Mr. Koll- 
mann concludes his VinpicaTion, by 
appealing to the public, ‘* Whether the 
remarks im queftion, as far as they allude 
to Mr. King, are cenfurable or not ; and 
whether the bitter mvectives thrown out 
by him inthe Advertifement, are appli- 
cable to him, or to Mr. King, 
Six Favourite Songs and Duetts, fung by Mrs. 
Billington and Mr. Incledon, at the The- 
atre Royal, Covent Garden. Compofed by 
Fofeeh Mazzinghi. §s. ~* 
Goulding, Phipps and D’ Almainee 
Thefe -fongs and duetts, taken in the 
aggregate, poflefs more than common me- 
rit, and form a very pleafing- feleétion.” 
‘¢ Why dares the Eagle?” fung by. Mrs. 
Bilhngton, is f{mooth and natural, though 
not remarkably novel: ‘ In the Breaft of 
a Lover,’ is a duett of prettily-varied 
paffages, and the parts are judicioufly 
blended. In ** Meek mournful Nightin- 
gale,”’ fung by Mrs. Billington, we find 
fome well-conceived divifiows, in the oboe 
accompaniment to which, Mr. Mazzinghi 
has at one difplayed his tafte and his 
knowledge of the true charaéter of that 
inftrument. -** O what can match the 
Picafure?”’ is both familiar and engaging, 
and reminds us of ‘the pure Englifh ftyie 
of melody. Mr. Mazzinghi, we are 
obliged to notice, has now and then heed- 
lefsly fallen into fome of thole errors and 
derects which we are not in the habit of 
expeCting from compofers of his rank: 
-among thefe, we fhall only inftance the 
two palpable confecutive fifths in the fame 
direttion,in the fecond bar of ** Why dares 
the Eagle,’ and the awkward and unna- 
tural fituation of the voice in farting on 
I eee the 
a Ee ey Fe a oe 
