by considering that the materia vita was every where in one of two forms, collected inte one mass in the brain, which he called coacervata, and diffused throughout the body, which he called diffusa, and between which the nerves communicated."

By microscopic examinations of the brain, the globules vary in size, and the gelatinous medium, uniting different parts, is not all of the same consistence; and hence it is assumed, that these various qualities are subservient to different functions of the mind.

LONGEVITY OF TOADS.

Many instances are upon record of the toad having been confined in cavities of rocks, and other close recesses, for a great length of time, without any apparent means of obtaining food; but there are few cases which enable the naturalist to specify the definite periods which these animals may have lived in such a state of confinement. By a paper read by Major-General Hardwick in the Wernerian Natural History Society, on the 13th of November last, we are informed of the incarceration of a live toad in a well at Fort-William Barracks, Calcutta, for the long term of fifty-four years.

THE MUMMY OF THE MILL.

There is now living at Wuarrens, near Eschallens, in Switzerland, a man named Jean Daniel Chevalley, who has acquired the faculty of measuring any lapse of time, and indicating any hour, by day or night, without the slightest error, and without any external or artificial aid whatever.

Speaking of himself, he says, "By imitation, labour, and patience, I have acquired an internal movement, which neither thoughts, nor labour, nor any thing can stop. It is similar to that of a pendulum, which, at each motion of going and returning, gives me the space of three seconds, so that twenty of them make a minute, and these I add to others continually."

"This internal movement," says he, " is not quite so sure and constant by night, yet when not too much fatigued, and my sleep is soft-if you wake me, and ask me what hour it is, I shall reflect a second or two, and my answer will not err ten minutes. The approach of day renews the movement, if it has been checked, or rectifies it, if it has been deranged, for the rest of the day.'

Being on board a steam-boat, on the lake of Geneva, on the 14th of July, 1823, his remarks," that so many minutes and seconds had passed since leaving Geneva," soon attracted attention; and he at length engaged to indicate the passing of as many minutes and seconds as any one chose; and that during a conversation, the most diversified, with those about him. This he did without the least mistake, notwithstanding the endeavours of those present to distract his attention.

He is deaf, and cannot hear the sound of either watch or clock. Neither of these instruments makes twenty vibrations per minute, which is always the number of his inward movement, by which he reckons. This singular person is a miller, and from his deafness and extraordinary faculty in measuring time, he has been nick-named the Mummy of the Mill.

ORIGIN AND STRUCTURE OF ST. HELENA ISLAND.

The rock of which this island consists is of great variety, and exhibits many features which declare it to have had its origin from a volcanic eruption. In some places it is very like basalt; in others, extremely porous, vesicular, and even cavernous. In some parts it resembles slag: and the cavities contain stalactites similar to specimens from Iceland, which are decidedly of igneous origin. The rock, also, exhibits imperfect strata of a slaty nature variously inclined.

At the surface, where the rock is most exposed to the action of the atmosphere, it readily decomposes, and is converted into clay, and hence the soil is generally deep. The clays formed from the decayed rocks vary in colour, the most common being brick-red and pink-red. Lime occurs in two places in the isle, imbedded in Lava Rock, and is an agglutinous mass, which seems to be a saturated carbonate.

A few specimens of stilbite, and of mesotype imbedded in lava, with a few other mineral substances, have been found.

Diana's Peak is stated to be 2692 feet above the level of the sea:

FOSSIL BAT.

In the quarries of Montmartre, in October last, the fossil remains of a bat were found, in size, and in the proportions of its members, much resembling the ordinary species of bats now existing. Hitherto no animal so highly organized has ever before been unequivocally shewn to exist in a fossil state; the discovery must therefore be regarded as a sort of era in the history of organic remains of a former world. Between the bat and man naturalists have interposed only the species called Quadrumana, so that the much-sought-for anthropolite may, yet, not be beyond the reach of future research.

EXPANSION AND CONTRACTION OF STONES IN BUILDINGS ACCORDING TO THE
VARIATION OF ATMOSPHERIC TEMPERATURE.

A bridge of stone constructed over the Dordogne at Souillac, having seven arches, each of above 24 feet span, during the very cold weather of February, 1824, was discovered to yield so that the parapet stones separated a little from one another. The cement with

which the cracks were filled remained in place as long as the cold weather lasted; but as the warm season came on the joints closed, and pressed out the cement again. It was at length ascertained, that much, if not the whole, of this expansion and contraction depended on the degree of heat or cold communicated to the stones from the atmosphere. An important and evident consequence of this action is, that large arches, exposed to variations of atmospheric temperature, are never in equilibrium, and that this thermometrical expansion and contraction affect stones which have been laid a considerable length of time as well as those recently put together.

PRESERVATION OF SEEDS SENT FROM ABROAD.

By coating the seeds to be exported with a thick mucilage of gum-arabic, and suffering it to harden upon them, they have been sent from the East Indies to this country in a perfectly

sound state.

THE GANGES CROCODILE; A NEW SPECIES OF THIS CLASS OF ANIMALS, AND ITS EXTRAORDINARY VORACITY.

A specimen of the Cummeer, or Ganges Crocodile, measuring eighteen feet from the extremity of the nose to the end of the tail, has recently been submitted to the examination of a celebrated naturalist of Calcutta. It differs from the Egyptian crocodile in several of its characteristics, and particularly in the formation of its feet, having the inner toes of the hind, and the two inner toes of the fore feet without any web, or connecting membrane; whereas the toes of the common crocodile are all more or less united by webs or membranes. This peculiarity, if it be common to the Cummeer, evinces a newly-discovered species of this amphibious race. The voracity of this creature may be better imagined when it is known, that, on being opened, its stomach was found to contain the remains of a woman, of a dog, and of a sheep; a whole cat; several rings; and many separated parts of the common baugles worn by the native women.-Asiatic Journal.

EXCESS OF RAIN DURING THE YEAR 1824.

It has been ascertained by the most perfect meteorological observations, that, during the last seven years previous to 1824, the average quantity of rain which fell in the vicinity of London did not exceed 22 inches; but in the year 1824, the depth of rain amounted to 32 Hence it will be seen that an excess of ten inches of rain was reabove the average of the preceding seven years.

inches, by the same gage. ceived, last year, over and

MEZZOTINTO ENGRAVING ON STEEL.

Mr. James Watt is said to have suggested, in 1812, the possibility of engraving in mezzotinto upon steel; but no progress was made in the art until Mr. James Perkins prepared blocks of steel sufficiently soft to yield to the operation of engraving tools; and the first specimen worthy of consideration was made in 1820 by Mr. Say. In 1821, the late Mr. Wilson Lowry gave Mr. Turner, of Warren Street, a plate properly prepared, on which he engraved a portrait which obtained the approbation of Sir T. Lawrence. In 1822, Mr. Lupton received the gold medal from the Society of Arts for an engraving on steel of the Infant Samuel. Thus, in the short space of four years, the difficulties in this new branch of engraving have been overcome, and one of the most valuable accessions to the Fine Arts has been brought to maturity. From the dense nature of steel, the clearness of the lighter tints are capable of being brought to much greater perfection than can be produced on cop per, and the darks possess a far superior richness. The tones, also, on steel are much better defined, than is obtainable on copper; and well rewards the additional labour necessary to produce them.

PUBLIC EVENTS.

On the 3d of February, Parliament was opened by commission. There was, as usual, a King's speech, and a great many other speeches, on the occasion. His Majesty speaks in very just terms of the increasing prosperity of this country; and there is, in the speech, the customary allusion to the friendly disposition of foreign powers towards us. Now, we believe the former declaration with all the confidence of the most dutiful and loyal subjects; but it really appears to us necessary to receive the latter with a little allowance. There can be no doubt that, through the wisdom of the most liberal and enlightened administration of which England has ever been enabled to boast, the affairs of this country have assumed a most prosperous aspect---an aspect the more extraordinary, when we consider the difficulties which the nation has had to encounter. The finances of Great Britain are most encouraging; and, notwithstanding the heavy debt which presses upon us, there never was a period, perhaps, when our national energies were more powerful. But, we ask, is the friendly disposition of foreign powers towards us, a fact equally evident? We answer to our own question---No. We have heard, from good authority, that frequent meetings of the diplomatique body have lately been held at Vienna, at which the English Ambassador was not invited. This, certainly, has any thing but a friendly appearance. Indeed, can it be supposed that the Holy Alliance will patiently behold their darling hopes annihilated at the voice of England? Can it be supposed that the members of that most religious communion will remain inactive till the exulting sounds of liberty echo round their palaces? No: they will assuredly call into action every energy, in order to support that fabric which has been the work of so many years. Spain is become, as it were, their foster-child; and they will, without doubt, endeavour to protect their bantling. The recognition of the independence of the South American states, is the noblest act that ever shed a lustre round the history of a country. It has given an impulse to the world that will be felt for ages---and whatsoever anger it may have roused in the bosoms of certain individuals---whatever may be the vengeance following upon that anger, England has nothing to dread. Secure in the hearts of her sons, and in the hearts of the lovers of liberty, the lightning of such vengeance will only serve to illumine the object which it may be intended to destroy.

Few matters, of any consequence, have, as yet, occupied the attention of Parliament, with the exception of the Catholic Association. A measure has been proposed for the suppressing of this highly illegal and dangerous body; and from the great majorities which ministers have obtained, there can be little doubt of its final dissolution. We are advocates for free discussion, when any particular class of persons imagine that they are aggrieved; but surely no reflecting and honest mind will, for a moment, admit the right of those persons to form themselves into an association that has for its object the setting at defiance the highest authority in the realm. It is of no service to blink the matter---the Catholic Association was evidently formed for the purpose of concentrating that power, which, when scattered, would be feeble; but when brought to one point, might, at a moment, burst forth with an overwhelming violence. It is well that this hydra has been strangled in its infancy.

ران

We have very little foreign news of any importance; so much depends upon rumour, that the actual state of affairs on the continent, and elsewhere, is very uncertain. Bolivar is reported to have met with such successes, that the war in Peru may be considered at an end, and that Spain has thus lost her last feeble hold upon her American possessions.

The recognition of the independence of Brazil by the Portuguese government, is currently talked of in Lisbon. The influence which England has in Portugal will do much towards bringing about a more liberal policy in that kingdom.

THE CHAIN PIER AT BRIGHTON.
(Subject of the Plate.)

WE have already given views of Ramsgate and Margate, to which the present will form an appropriate companion. The Chain Pier at Brighton is of considerable importance; as, previous to its erection, it was impossible for any but vessels of small tonnage to approach the town. This difficulty arose from the flatness of the shore; the inconvenience of which is obviated by the present Pier. It is, as will be seen from the engraving, a beautiful erection; and, as will appear from what we have stated, as serviceable as it is beautiful.

THE DRAMA.

THE MODERN STAGE---A CRITICAL SKETCH.

THE stage is the school of humanity, the great mirror in which the virtues and vices of mankind are reflected. To some part of every nature, however alien it may be, it strikes home, like a heart-thrust. For who is there among the wide family of mankind, above the sport of passion? The philosopher, the pedant, the tyrant, and the slave; the libertine and the moralist; men of all ranks, ages, and professions, find reflected in the drama each his own individual portrait. The stage then, we assert, from its close sympathy with human nature, to be an object of primary importance. The pulpit and the press challenge our attention with like claims-but what, after all, is a cold description, compared with the actual living exhibition of mind? What is Richard in history to Richard on the stage, thrust bleeding, as it were, with ulcered conscience before us? What homily delivered from the pulpit, comes so home to the heart, as the spectacle of the crowned murderer, Macbeth, lamenting, even in " the pride of power," that his " I way of life has fallen into the sere, the yellow leaf?" With these ideas of the stage, considering it as a first-rate province of human intellect, we shall endeavour, in our future pages, to render it adequate justice. Its movements, from time to time, we shall scrutinize with an accuracy proportioned to their importance; and throughout all our criticisms shall be guided by the dictates of severest truth. As a requisite preliminary, however, we shall here briefly sketch the characters of its principal professors, and afterward fill up the portrait as time and inclination may suggest.

MR. KEAN, from his superior ability, first demands our attention. He is the Lord Byron of the drama; to the full as wild, intense, and impassioned; with similar prominent inequalities. His display of feeling is electrical---but he wants judgment, with the power of filling up an outline. He can conceive---he can elicit a beauty, or start a point, yet lacks the faculty of embodying as a whole. In Othello, for instance, his undisputed master-piece, he is tame, and even unexpectedly mean, in parts where repose is required; and only when the character puts forth storms and tempests, is he himself again." Hence he is Othello in parts only. His Hamlet is another striking union of genius and commonplace. The calm, deep-seated enthusiasm of the Danish prince, is entirely lost in Mr. Kean; he is tricked out in passion and paradox, and introduced upon the stage as a vulgar un-idea'd blusterer. Now, this, as honest Dogberry phrases it, "is most tolerable, and not to be endured." "Aut Cæsar aut nullus," is the motto for the representative of Hamlet. Mediocrity is here detestable-we allow no common-place hypochondriacs. One of Mr. Kean's most striking beauties is his bye-play. In his popular representation of Richard, this is eminently conspicuous. His leaning, for instance, in silent thought, against the pillar, while Lady Anne comes forward to upbraid him; his drawing up the plan of a battle involuntarily, as it were, with the sword, when he bids his last good-night: these are modest and redeeming touches in his play, that steal their way to the heart, when his more vociferous clap-traps are forgotten.

How different is the mind of YOUNG! If the one is all fire and passion---a volcano bursting forth in storm and horror---the other is all calmness and placidity; a piece of exquisite workmanship, highly wrought and polished; but still passionless and mechanical. Mr. Young is the beau ideal of sublime common-place. Hence the excellence of his Pierre (that paragon of bullies). Were he, in his professional career, to confine himself to the delineation of such characters, "would that he might live for ever." But when, in Macbeth, Hamlet, and more particularly in Leonatus Posthumus, or Iachimo, he misinterprets, misquotes, and misunderstands his text (as, to give one instance out of a hundred, in his delivery of the word "proper," which the old dramatist invariably used, by way of emphasis, to describe a flattering exterior, but which Mr. Young slurs over as a phrase of "no mark or likelihood"), the effect is truly absurd. This gentleman, like Nicodemus of old, requires to be regenerated or born again---to be new cast in the mould of passion, ere we can allow the justice of his practical commentaries on Shakspeare.

MR. MACREADY, the last of this tragic triumvirate, is the most romantic of actors. In one sense he may be considered as impassioned as Mr. Kean; but then it is the passion of romance, rather than of reality. Thus he can embody, with electrical effect, the sensibilities of Rob Roy; can amalgamate himself most intensely with his wild enthusiasm for the old hills and lakes of his country; but cannot, even in an inferior degree, give truth to the material susceptibility of Othello. The Virginius of Macready is a fine, equable, and classical performance: and his closing paroxysm of insanity, the most harrowing exhibition of the modern stage.

We are warm admirers of CHARLES KEMBLE, the last of his race (as Sir Walter would term him), the sole relic of a family immortal in our histrionic recollections. The comedy

of this gentleman is the most graceful thing imaginable; his raillery, the very essence of vivacity. Who, for instance, can ever forget the ease and good-humour of his Don John; or the fire and mettle of his Faulconbridge? The very spirit of chivalry hangs like a rich sun-light over this last performance, throwing out its beauties in such dainty profusion, that our senses become positively dazzled with the splendour. In the broader parts of comedy, Charles Kemble is palpably deficient. His Falstaff is a stiff, formal exhibition, "a fat gentleman in buckram," as some one has aptly defined it. It wants the racy mellowness of nature; for though correct, as an outline, it is insipid, as a portrait; the lineaments, indeed, are preserved, but the expression is lost. A bottle of brisk champagne, more or less, is, we take it, the key to a successful Falstaff. Quin, the epicure, was admirable in this obaracter.

TO MR. COOPER's taste in wigs, it is our wish to do all possible justice; but why will he soar above the regions of respectable melo-drama? Why will the owl attempt the flight of the eagle? And why, oh! why, will this otherwise decent actor affect the sentiment of Romeo? Mr. Liston, it is true, once played Hamlet---but does this justify Mr. Cooper? As a second-rate performer he must always please; but in attempting loftier flights, he sinks, like Icarus, to earth, drooping and exhausted; an object of triumph to his enemies, of sincere commiseration to his friends.

The Doctor Cantwell of DowToN is, we are humbly of opinion, the pride of the modern stage. The wily voluptuous sycophant is here embodied to the life. His walk, his look, is puritanical---his very voice breathing the spirit of the conventiole: And then the calm unobtrusive spirit, poured, like soft oil, over the smiling surface of the whole character. It is really wonderful, and as a specimen of the old school of acting, in the glorious days of Quick, Parsons, Dodd, Smith, Munden, Edwin, and others, is the only thing we have now left.---Esto perpetua!

As Dowton is the most quiet, so HARLEY is the most mercurial of comedians. He is Saint Vitus personified; the essence, or rather the quintessence, of fidgettiness. His humour (to use the language of Falstaff) is "quick, fiery, forgetive;" steeped to the very full in a special restless vivacity. Motion, in others so inexpressive, in him assumes the character of wit; the dignity of a good joke. In proof of this, we need only instance his Doctor Endall, his Dicky Gossip, or that still more whimsical performance, Sampson Rawbold, where the humour of the character lies not so much in the mind, as in the limbs. The secret of Harley's popularity is the perfect nature of his acting. It may be exaggerated, deformed---but still it is nature, and in this respect differs from the performances of JONES, through which peeps the labour of the artist, disguised, indeed, to a superficial observer, but clearly manifest to the eye of criticism.

Of MISS KELLY we scarcely dare trust ourselves to speak; so versatile yet characteristic is her acting. In a certain arch humour rather insinuated than expressed; in pathos arising from the distresses of simple lowly natures, she is, and, with the sole exception of Mrs. Jordan, has ever been, unequalled. As a chambermaid she is perfection itself.

The excellence of ELLISTON, though now somewhat on the wane, is still deserving of respect. The time, indeed, has been when he stood without a rival in the walk of genteel comedy but that was before the days of the Surrey, and his buffooneries at the Olympic. Both together have ingeniously contrived to vulgarize him. The sly humour of this gentleman is his principal characteristic, added to which, his devotions to women and the gallantry of his bearing, are singularly felicitous. No one addresses a lady with such an air, with so much assurance, tempered, at the same time, with such gentle courtesy. His Bob Handy, in "Speed the Plough," is a master-piece in this respect.

MR. LISTON, we are sorry to find, greatly overrated by the public. With the milk-maid, in the old song, he may say, "My face is my fortune;" for without this auxiliary he is nothing, or worse than nothing. His acting is without character; whether he represents Dominie Sampson, Maw-worm, or even Billy Lack-a-day, it is still Liston; the same monotonous buffoon:

"Nature, in spite of all his faults, creeps in,

Horatio, Dorax, Falstaff, still 'tis Quin."

MISS M. TREE is the most captivating actress of the day. There is a sentiment---a spell ---a fascinating something, about this young lady, that comes straight home to the heart." As Ariel, she is the very "shadow of a shade," mysterious, graceful, and unearthly; as Viola, the soul of elegance; as Clari, the genius of romance. We never see or hear her without recalling the times when every wood---hill---yalley, and river was supposed to have its presiding nymph; and when at evening or morning the voice of fairy natures might be heard, pouring forth their rich music on the air. The lower tones of Miss Tree's voice have a finer spirituality about them than any thing we ever heard. They are rich even to cloying,