luted with the ufual deficcative oils, &c. 
and thus to be ufed as paint. 
Having carefully infpeéted the fpecifica- 
tion of this patent, we are induced to ob- 
ferve, that it certainly does not defcribe 
the peculiarity of the invention, with a 
definitenefs and precifion fufficient, inlaw, 
to fecure the right of its property to the 
inventor. Nine-tenths of the patents on 
récord are in the fame predicament, 
ee ty 
MR. LONGMORE’S PATENT for a PAT- 
TEN of CLOG iz the LOCKS of GUNS. 
By the invention recorded in the fpeci- 
fication of this Patent, an elaftic tongue 
or {pring of iron or other metal, is pro- 
vided, to pafs through a hole perforated 
in the middle of the block of the patten, 
and then, by preffure, to keep the fole of 
the foot tight againft ties. The foot or 
block is made of iron, wood, cork, or any 
other fuitable fubftance. 
MR. BECKER’S PATENT for IMPROVE- 
MENTS iz MUSICAL INSTRUMENTS. 
- The grand peculiarity in this invention 
confifts in its producing, in the harp, 
fharps, flats, quarter-notes, &c. by a 
new motion of the wreft-pins with which 
the ftrings are extended and turned. 
This motion is given to the wre(t-pins 
by the following contrivance :—The wreft- 
pins have levers attached to them, refpec- 
tively. On the lever flides a quadrant. 
MONTHLY RETROSP 
Retrofped? of the Fine Arts 
157 
Links are fixed on the quadrant, and are 
kept ftationary by a_ regulating fcrew. 
A crank conneéts the feveral quadrants 
with the pedals of the harp. On the 
crank is another regulating-icrew, to ad- 
jut the whole to the motion of the pedals. 
When any of the pedals are prefled down, 
the quadrants and wreft-pins connected 
with it, follow its movements. When 
the preflure on the pedal ceafes, the ftrings 
inftantly return to their former ftate of 
tenfion. A fort of rack is applied to 
ftop the pedals at four different ftations, 
aniwering to the natural note, to one- 
quarter, to one-half, and to three-quarter 
notes. A {pring is applied to each pedal, 
to counteraét the tenfion of the ftrings. 
In Piano-fortes, and other ftringed in- 
ftruments which are played with keys, 
wheels are, by this invention, placed under 
or over the ftrings, to make them vibrate. 
The itrings are, by the touch of the keys, 
inclined to the wheels; and a pedal, or 
any other mechanical power, is applied to 
put the wheels in motion. The ftrings, 
that they may be fufceptible of vibration 
from the wheels, muit be extended on 
“«¢ any thing moveable having its prop or 
fulcrum any where withia the extent of | 
the ftring, or its two ends higher or lower, — 
for the purpole of moving or inclining 
the ftring toe the wheels, or altering the 
tenfion of the firings to raife or lower the 
tone thereof.” 
ECT OF THE FINE ARTS. 
(Communications and the Loan of all new Prints are requefted.) 
The Birth of the Thames y engraved in Stroke 
Jrom a‘ Pifture painted by Maria Cofwway, by 
William Tomkins, Hifforical Engraver to her 
Wajefly ; dedicated by Permiffion to ber R. H. 
toe Princefs Augufta Sophia, and publifhed by 
R. Ackermann, Strand, Price 11.15. “Proofs, 
‘or coloured Prints 2/. 123. 6d, 
£¢ The Infant Thames, far inthe diftant vale, 
Gives its firft waters to the fecret gale: 
Then gliding onward quits the Naiad train, 
And forms the wave that rufhes to the main.” 
FEW prints inthis ftyle would af- 
A ford fome relief to the eye of a Re- 
viewer, which necelfarily becomes tired 
of the: taftelefs repetition of theatrically 
conceived hittory-painting, or the. unin- 
tereliing portraits of uninterefting indivi- 
duals, calculated to live no longer than 
the opulent originals they reprefent. We 
would not by this be fuppofed to mean to 
exprefs any violent partiality for allegori- 
. 
ca] painting, which, except in the hands 
of a mafter, is obfcure and uninterefting, 
Mrs. Cofway has conceived this ftory in a 
fiyle that does honour to her talents and 
tafte; and Mr. Tomkins has engraved it 
ina fpirited and forcible manner. The 
general effect of the whole reminded us of 
thofe prints that were copied from the de- 
figns of one of thofe great mafters wha 
have had places afligned them in the Tem- 
pleof Fame, rather than the work of a 
living and a female artift. The upper 
part of the compofition is particularly 
grand. Defigns for twocompanion prints 
on fubjeéts fomewhat fimilar are now mak- 
ing by Weftall; and from bis uncommon 
talte we form high expectations. Befides 
the above, we have, by accident, feen a 
print engraved from a defign of Mrs. Cof- 
way’s, as a vignette frontiipiece to An 
_Effay on Colours, juft publifhed by 
Acker. 
