hence the mon père.'

arge beak

gular air compared he head, a s Viellot, g, like the

and even as I can of which Nouveau iana.

enlum. 609), represents this part as being clothed with a
considerably thick down. Upper part of the head, back of
the neck and throat, covered with small close-set feathers.
like black velvet. External edges of the quills of the mid-
dle of the wing, the last quills, and all the wing coverts,
bluish grey. Great quills and tail-feathers black, with
bluish reflections. The rest of the plumage, bill, and fect,
black. Eyes red brown, with a yellow skin beneath. The
female is smaller, and of a brownish black. Locality,
Brazil and Guiana.

is naked.

Cephalopterus.

bill, as Temminck represents them, partly repose and over-
shadow it, at least as much as do those of Calyptomena and
Rupicola (vol. i. p. 41).' The species above noticed is the
only one known.

CORAL. [POLYPARIA CORTICIFERA.]
CORALLIA. [POLYPARIA CORTICIFERA.]
CORALLINES. [PSEUDOZOARIA.]

CORANTO, a quick dance. [COURANTE.]

Bill strong, robust, mandibles nearly equal, the upper
one convex and scarcely curved at the summit, not notched
at the point; lower mandible flattened below. Nostrils
longitudinal, open, hollowed into an oval excavation;
bristles at the border of the bill, which infringe a little on
the frontal feathers. Two rows of feathers, taking their
origin on the forehead, and elevating themselves into a
plume or crest on the head. The feathers of the neck
form a kind of pendant pelerine in front of the neck, which
Example. Cephalopterus ornatus, Coracina cephalop-work as well as in masonry.
tera, Vieill. Colour a uniform blue black. Head and base
of the bill ornamented with a plume or crest, forming a sort
of parasol, composed of straight elevated feathers, with white
and stiff shafts, and terminated by an ear (épi) of black
beards, which projects forwards (se renverse en devant).
The sides of the neck are naked, but long feathers form-
ing a loose pelerine, and hanging down lower than the
breast, spring from beneath the throat and from the sides
of the neck. Tail long, slightly rounded. General plumage
of a deep black. Crest and feathers of the pelerine giving
metallic reflections (Lesson).

CORBEL, a projecting piece of stone, wood, or iron,
placed so as to support a weight of materials. Corbels are
sometimes in the form of the modillion or mutule em-
dow. Small semicircular towers projecting at the angles
ployed in entablatures, and also like the console of a win-
on perpendicular surfaces of large towers or other edifices
In some of the colleges in Oxford and Cambridge the
are supported on a series of plain or moulded corbel stones.
in the same manner.
mullions and roof of semicircular windows are supported
The machicolations of towers are
almost always supported on corbel stones, as may be ob-
served in the old gates of Southampton, Canterbury, and
York. This projecting of one stone beyond another is
technically called 'corbelling out.' This is done in brick-
In the interior of some
churches the construction of the roof appears to be sup-
ported on corbels, the ends of which are often carved, and
represent an angel holding a shield. In Norman archi-
tecture the cornice is supported by a row of corbel stones,
the ends of which are also carved. In old English castles
the main beams of the floors were frequently carried on
large corbel stones, as at Porchester Castle. The term
bracket is sometimes used for a corbel. Bracket however
is better applied as synonymous with cantilever. Small
wooden brackets often differ from corbels and cantilevers
and not having a bearing on a wall, as is always the case
in being merely nailed to a perpendicular piece of wood
with corbels and cantilevers.

The bird that furnished the description was brought to M. Geoffroy-Saint-Hilaire from Lisbon. M. Lesson states that the belief was that it came from Brazil, but that a wellinformed Portuguese had told him that it was from Goa. M. Vieillot says that the colour of the naked skin of the neck is cerulean blue. Mr. Swainson, in his Natural History and Classification of Birds,' London, 1836, says, 'The crest of this extraordinary bird is immensely large, advancing so far in front as to touch the end of the bill, and it is compressed in the same manner as that of Rupicola; but the ends of the feathers, instead of meeting so as to form a sharp ridge, suddenly recede from each other, curve outwards, and form a most elegant drooping line of plumes, hanging over on the sides, so as to shade the face like an umbrella. The figures that have hitherto been given of this rare bird are all taken from the specimen in the Paris Museum, and which has been sadly distorted in the setting up. A minute examination of this specimen has convinced us that the frontal feathers, instead of being raised over the

[Cephalopterus ornatus.

modern island of CORFU. Though the name is written CORCY'RA (Képrupa, Kerkúra), the Roman name of the Kerkura in the Greek authors, it seems that all the extant coins have KOPKYPA (Korkura). [CORFU.]

[Coin of Corcyra.]

British Museum. Actual size. Silver. Weight, 76 grains." fixed at the two extremities and stretched with force suffiCORD, frequently spelt chord, means an elastic string cient to enable it to yield a musical note. [AcouSTICS, vol. i., p. 97. Throughout this article A means the article Acoustics, and the page and column of vol. i. are referred to.] The close analogy which exists between a string and a column of air in a state of vibration would require more space to elucidate properly than this subject will allow us to give: we shall therefore assume some results of mathematical reasoning, point out the probability of those results, and consider the theory of the vibrating cord independently.

Firstly, we suppose our cord to be of uniform thickness and density, so that any given length is precisely of the same quality, from what part soever of the string it may be cut. The want of this condition being practically fulfilled is sometimes sensibly felt in violin and violoncello strings, which are then called false. A player whose intonation is perfect upon a perfect string, has to learn a new instrument when he attempts to play with a false string; to say nothing of the harmonics which must be heard more or less becoming discordant.

Let us first suppose a string of indefinite length, and not so acted upon by gravity as to hang downwards, stretched at the two ends by equal weights. The string is a cylinder of uniform diameter and density. Let us next suppose that a part of the string is placed on a mould which catches two points and holds them fast, and stretches the intermediate part into a curve which differs very little from a straight line. Let the mould be suddenly removed, and let us further suppose that, in removing it, we are able to communicate any velocities we please to the different points of the stretched part. We have then, at the moment of starting, a system represented in the following diagram, where AB

(dotted) represents the part in question before the mould was applied, and it is ACB the instant the mould is taken away, all the points between A and B being in a state of motion upwards or downwards. The string will not remain an instant in its present state: the first presumption is that the moment the points A and B are set free a disturbance will take place in the parts of the string both between P and A, and between Q and B, the disturbance travelling from A towards P as well as from B towards Q. The first point in which we are interested is this: with what velocity will the disturbance be propagated? and the answer is, that the disturbance travels throughout the string with the same velocity, depending upon its material and the weight with which it is is stretched, according to the following law: Let each of the equal weights P and Q be as heavy as c feet of the string: then the velocity of communication is so many feet per second as a bullet would acquire, if it were allowed to fall in vacuo down a perpendicular of c feet, or 2ge where g is the velocity which gravity communicates in one second, or 32 feet. For instance, let the string be iron wire, every cubic foot of which weighs 7200 ounces avoirdupois. Let the diameter be one-twentieth of an inch, and let the weights P and Q be each 20 pounds or 320 ounces. Then the weight of x feet of the string is (of an inch being of a foot)

3.14159 × () x x x 7200 ounces which made equal to 320 gives x = 3259.5 feet and √2 × 32 × 3259.5 = 457.93 = 458 nearly, or 458 feet per second is the rate at which the disturbance is communicated. [CYLINDER.]

pensate each other throughout. But let a time elapse during which the direct and retrograde disturbances travel to M and L. Then the form of the string at that moment will be Ac mnc B, where the part m n arises from the composition of the two parts of the disturbances which yet remain acting on the same points. (See another in stance of composition, A. 92.)

We may thus trace the effect of disturbance upon an in duce no musical sound, for which (A. 95,2) it is necessary definitely extended string; but such a string would prothat there should be a continued reiteration of the same posing a finite string, stretched at the ends, we must ask action upon the air repeated at equal intervals. Now supwhat takes place when the disturbance comes to the end of the string. And from mathematical analysis again, the following is the answer: Let P be the fixed end of the

PH

H

B

string, and choose the instant at which, had the string con-
disturbance H A' equal and opposite to GA, and let it be
tinued, the disturbance would have been BVA. Make a
compounded with G V B, on the supposition that it is part
of a disturbance proceeding from P, such as would by itself
bend the string in the opposite direction. Then PVB or
PV A' is the state of the string at that instant.
the disturbance is converted into an equal and opposite
disturbance proceeding in the contrary direction.

In fact,

We now ask what is the nature of the disturbance communicated. It suggests itself as possible, that there may be some species of disturbances which travel only in one direction: for instance, that we might so proportion the velocities of the disturbed points to their positions, that AP should remain undisturbed, that the points from A towards the right should drop one after another into their places, while those from B to Q should be successively disturbed. The answer, again derived from mathematics, is, that such disturbance is possible, and that the conditions under which it will take place are: 1. That C being the highest of the disturbed points, all the points from A to C must be moving downwards at the first instant, and all those from B to Q upwards. 2. That the velocity of the points must be as follows: At any point R draw a tangent RT to the curve of disturbance. Then the velocity of the point R must be such as would, if continued uniformly, carry the point R from R to N or from N to R in the same time as the whole disturbance is propagated from T to N. These conditions being fulfilled, we may represent the successive states of the string by cutting out a piece of paper of the form ACB, and carrying it along the string PQ at the uniform rate per second which we have found for the propagation of the sharply struck near one end. It is altogether a gratuitous disturbance. If the directions of the velocities be all re-assumption, knowing what we do of the imperfect elasticity Now let us suppose a string like that of a piano-forte, versed, then the disturbance travels from B towards P. Let of matter, to suppose that the disturbing effect of the blow us call such disturbances simple; and with respect to the immediately affects the whole string. A certain disturb direction in which they travel, direct or retrograde. We further learn from mathematical analysis, that any dis- of the string. Then what is that perceptible phenomenon, ance is produced upon a part (it may be a very small part) turbances whatsoever, taking place upon the same points the reiteration of which produces a musical tone? at the same instant, produce a compound disturbance of suppose the string struck at one-fourth of the length from which the values of RN and the velocities at the point R in its end, and suppose that the tension is such that disthe compound disturbances are the algebraical sums of the turbance is propagated at the rate of 2000 feet a second, the values of RN, &c., in the component disturbances. And length being four feet. A disturbance is produced at M, moreover, that any disturbance whatsoever, be the law of its form and velocities what it may, can be compounded of two simple disturbances, one direct and one retrograde. So that the moment the mould is removed, the disturbances will begin to travel in different ways. not completely separated, there will be points remaining As long as they have under the effects of both; but when they have had time to separate completely, we should, were the rapidity of transmission not too great, see the direct disturbance travelling by itself in one direction and the retrograde in the other.

To illustrate this, suppose we wish to ascertain the effect of the disturbance ACB, as drawn, the velocities throughout being nothing at all at the instant the mould is withdrawn. The two simple disturbances which would produce

P

M

Let us

wards P and Q, at which they are reflected with the same from which two simple disturbances begin to travel tovelocities. They will be at N together producing a disturbance (now recompounded) of the same amount as before, but on the opposite side of the string. This takes is repeated 250 times per second. From M to N there is place while four feet are described at 2000 feet per second, or then a succession of effects upon the air, which are most powerful at M and N, owing to the coincidence of the disturbances. This is repeated 250 times in a second, and

By supposing the whole string put in vibration, or any simultaneous disturbances communicated to it, the effect may similarly be shown to be, that at the end of the time during which disturbance would be propagated along the whole string the effects are all reversed, but are of the same magnitude; while in a second of such time they are all restored. We thus easily arrive at what is called the fundamental sound of a string. With regard to the harmonics (A. 96-2) of a string [HARMONICS], they are not so easily shown to be necessary. We shall, however, first show that such effects are always possible; that is to say, that if a string begin to vibrate so that its two halves, or its three thirds, &c. are disturbed together, such an effect will be produced. Suppose, for instance, the initial state of the string to be PM NQ, where PM, MN, and NQ are the

revolutionists struck deep root in her enthusiastic mind; and her zeal for their establishment was heightened after the rise of the Jacobins, and the overthrow and proscription of the Girondists, May 31, 1793, by the presence and conversation of those chiefs of the latter party who fled into Normandy, in hope to rouse the people in their favour. Resolved to advance the cause which she had at heart by some extraordinary action, Charlotte Corday travelled to Paris, where, having gained admission to the galleries of the Convention, she was still more incensed by the threats and invectives which she heard showered upon her own friends.

I have

Being thus confirmed in the determination to assassinate one of the principals of the dominant faction, whether to deter them by terror, as an act of revenge, or as an example of what she regarded public justice, she chose Marat, one of the most violent and bloody of the Jacobins, to be her victim. After two unsuccessful attempts, she obtained admission to the chamber in which he was confined by illness, July 15, under pretence of communicating important news from Caen; and being confirmed in her purpose by his declaration that in a few days the Girondists who had fled thither should be guillotined in Paris, she suddenly stabbed him to the heart: he gave one cry and expired. Being immediately arrested and carried before the tribunal revolutionnaire, she avowed and justified the act. killed one man, she exclaimed, raising her voice to the utmost, to save a hundred thousand; a villain, to rescue innocents; a wild beast, to give peace to my country. I was a republican before the revolution, and I have never been wanting in energy. (Mignet, vol. ii., p. 5.) withstanding her confession, the court, with an affectation of impartiality which in this case could be ventured on, assigned her a defender, and went through all the formalities of trial. The speech of her advocate is rather remarkable. He neither denied nor extenuated the act; and acknowledged it to have been long premeditated. everything, and seeks no means of justification; this, citizen-judges, is her whole defence:-this imperturbable calmness, this total self-abandonment- these sublime feelings, which, even in the very presence of death, show no sign of remorse, are not natural. It is for you, citizenjudges, to fix the moral weight of this consideration in the scales of justice.'

thirds. During the time in which the direct disturbance of
PM would be communicated to M N, that of M N would
be communicated to NQ, the direct disturbance in NQ
would be made retrograde, and so on. Hence though the
whole string may vibrate, each of the parts has a vibration
by itself in one third of the time. If we were to destroy
the vibration of the whole string by compounding with the
preceding such a disturbance as would always destroy the
velocities at M and N, there would then be three strings,
each vibrating in one-third of the time of the whole string.
The ear can appreciate such contemporaneous sets of vi-
brations, and accordingly in this case perceives both the
fundamental note of the string and the twelfth above it.
If a large and miscellaneous set of disturbances be commu-
nicated at once, those only will exhibit cycles of effects,
which make the halves, the thirds, &c. vibrate together, and
we can say little more without entering into mathematics.
But in a string it may always be observed that we seldom
hear the octave of the fundamental note, and generally the
twelfth and seventeenth. No reason can be given for this
which is perfectly unobjectionable we do not know
whether it is the aptitude of the ear to distinguish these,
or of the string to take the corresponding divisions, which
is the cause of the phenomenon.

The time of vibration of a string, that is, of complete
reversal of all the initial effects, is 2gc, where I is the
length, and c is as before. It is therefore directly as the
length and inversely as the square root of the tension;
results which are amply confirmed by experiment.

Not

'She avows

You

Charlotte Corday returned thanks to the pleader. have seized, she said, the true view of the question: this was the only method of defence which could have become me.' She heard her sentence with perfect calmness, which she maintained to the last moment of life. Her personal charms were of a high order; and her beauty and animation of countenance, even during her passage to execution, added greatly to the interest inspired by her courage and loftiness of demeanour. She was guillotined July 17, 1793. (Biog. Univ.; Montgaillard, Hist. de France, &c., vol. iv., p. 55-59.)

CORDELIERS, so named from wearing a knotted cord for a girdle, were the strictest branch of the Franciscan or Grey Friars. Chaucer mentions them in the 'Romant of the Rose,' 1. 7461, but they were not much known by this appellation in England. The name Cordeliers is said to have been first given to certain Franciscans (at that time but recently established) who accompanied the army under St. Louis to the Holy Land. They served in a Flemish corps, the commander of which considered it his duty to report to the king not only their bravery, but their zeal in re-animating the soldiers of his division, who had been on the point of giving way. The king inquired the designation of the pious men, but the officer had lost his recollection of it; he could only say that they were those 'qui sont liés de corde.' From this they received the new appellation of Cordeliers. St. Louis, upon his return to France, gave great encouragement to these Franciscans, and founded a convent for them in Paris. There were ultimately, according to Moreri, no fewer than 284 male and 123 female convents of Cordeliers in that country. (Moreri, Dict. Historique, chiefly from Hermant, Histoire des Ordres Religieux.)

In all that has preceded we have supposed the string
perfectly elastic, and without friction. Neither of these
suppositions is true, but since the velocity of propagation
of every disturbance is independent of its extent, the
gradual diminution of the latter will not affect the pheno-
menon on which the musical qualities of the string depend.
(A. 97-2.) The method of observing the curves in which
each point of a string vibrates, recommended by Dr. Young,
was to use a string round which small wire is coiled, like
the larger string of a violoncello, and to observe with a
microscope the reflection of a candle or other bright spot
on one of the coils. Sir J. Herschel suggests that a
thin slit should be made in a window-shutter, and that the
string should be placed with the point to be examined
cutting the vertical plane of light. This point would
therefore appear bright while the rest is dark. In either
case the rapidity of the vibrations would make the curve
described by the bright point permanent.

A single string fitted up for experiments is called a
MONOCHORD.

CORD (in music). [CHORD.]'
CORDAY D'ARMANS, MARIE ANNE CHAR-
LOTTE, commonly called CHARLOTTE CORDAY, who
numbered among her ancestors the great tragedian Cor-
neille (Lepau, Chefs d'Euvre de Corneille), and was of
noble family, was born at St. Saturnin, near Seez, in Nor-
mandy, in 1768. The republican principles of the early

CORDIA CEÆ, a small natural order of Monopetalous exogens, with a shrubby or arborescent habit, a gyrate inflorescence, and a drupaceous fruit. The leaves are alternate, usually covered with asperities, and destitute of stipules. The calyx is inferior and five-toothed; the corolla regular, with five stamens proceeding from the tube, and alternate with the segments. There is a pendulous ovule in

north, from

he countries

abject to the om south to etween 124 5. Its area more than ry. On its

mountainarates the Manchoo. -south-east

ninsula as the shores with great tracts are st, which large and

Fushan, according to the Chinese geography, called by Broughton Chosan or Thosan, is a bay at the south-eastern extremity of the peninsula, opposite the Japanese island of Tsu-sima, at the innermost recess of which the town of King-tsheou is built, which carries on an active trade with Japan, and is the only place to which the Japanese are permitted to come.

In industry the Coreans do not appear to be much inferior to the Chinese and Japanese. They mainly excel in the manufacture of cotton cloth and cotton paper, both of which are brought in great quanties to Peking. Other manufactured articles which are exported are silk goods, plain and embroidered, and mats. They have attained considerable skill in working iron, as swords are sent, with other articles, to the emperor of China as tribute.

King-ki-tao, the capital, which is a few miles north of a | by a third set; and the fourth was published in 1694. His
considerable river Han-kiang, appears to be a large place, and admirable sonatas for violin and base, or harpsichord, in
is said to possess a considerable library, of which one of the which all violinists are early initiated, were printed, with a
brothers of the king is chief librarian. The name of this dedication to the electress of Brandenburg, in 1700. When
town is properly Kin-phu, near Hanhang, or Hanyang. The James II. sent, in 1686, the earl of Castlemaine as ambas-
mouth of the river Tsing-kiang (between 34° and 35°), on the sador to the pope, Christina of Sweden, then at Rome, cele-
western coast, is said to have a very spacious harbour. brated the event by having an opera written, composed, and
performed, in the holy city. The band employed on this
occasion consisted of 150 stringed instruments, a prodigious
and unprecedented force for those days, and Corelli was
chosen as leader, which duty he performed in so satisfactory
a manner, that the Italian opera in Rome was placed under
his direction chiefly, and in 1700 had arrived at a degree of
excellence which it had never before attained in the capital
of Italy. He now gained the friendship of the well-known
patron of art, the Cardinal Ottoboni, at one of whose Accade-
mie he met Handel, then travelling in Italy. As a mark
of attention to the great German composer, the cardinal
had the serenata, Il Trionfo del Tempo e della Verità
(afterwards altered into The Triumph of Time and Truth)
performed, the overture to which being in a style quite
new to Corelli, he led it in a manner that displeased the
irascible composer, who rudely snatched the violin from
the hands of the gentle Italian. Corelli no farther resented
this indignity than by calmly observing, Mio caro Sassone,
questa musica è nelle stile Francese, di ch' io non intendo.
(My dear Saxon, this music is in the French style, which I
do not understand.) Some satire was half concealed in this
remark, for Handel at that time certainly imitated Lully's
overtures, and the inuendo, which was a lenient punish
ment for conduct so violent, could not have been misunder-
stood by him. Corelli, however, though an exquisite per-
former in regard to expression and taste, had devoted more
of his attention to those high qualities which ought to be
considered paramount to all others, than to what is com-
monly understood by the term execution; he consequently
was sometimes embarrassed by having music placed before
him which at first sight he could not easily master, and was
abashed on finding that musicians infinitely inferior to him-
self could play it without preparation or hesitation. It was
at Naples that he met with some mortifications of the kind
alluded to, which prompted him to quit abruptly, and
somewhat chagrined, that city, to which he had been very
warmly invited, and where it was intended that he should
be received with every mark of distinction.

No country is less accessible to Europeans than Corea.
They are not permitted to remain even a few days on any
part of the coast. It is not well known what is the reason
of this policy, but it seems that the mutual jealousy of the
neighbouring Chinese and Japanese holds the king in great
subjection. The commerce of the country is accordingly
limited to China and Japan; and even with these countries
is restricted in a very strange way. No maritime inter-
course is allowed between China and Corea, but all com-
merce is carried on by means of the narrow road which
leads along the sea to the town of Fang-hoan, in Leao-tong.
But as it traverses the wide district which by order of the
Chinese emperor must remain uninhabited, it has become
the haunt of numberless ferocious animals, and hence the
passage is much dreaded by travellers. Commerce therefore
is principally carried on in winter, when the shallow Hoang-
Hai is covered with ice along its shores, which are more fa-
vourable to the transport of goods than the bad mountain-
roads. Besides the above-mentioned manufactured goods,
gold, silver, iron, rice, fruits, oil, and some other articles, are
brought by this road to Peking. We do not know what the
Coreans take in return to their country. The commercial in-
tercourse between Corea and Japan is limited to that between
the island of Tsu-sima and the bay of Chosan, and is carried on
by Japanese merchants, who have their warehouses at each
place. They import sapan-wood, pepper, alum, and the skins
of deel, buffalos, and goats, with the manufactured articles of
Japan, and those brought by the Dutch from Europe; they
take in return the manufactures of Corea, and a few other
articles, especially ginseng.

We know nothing of the political condition of the coun-
try, except what is communicated by Klaproth from the
Japanese geographer Rinsifee; according to whom there
are sixty-four commanders of 10,000 men, which would
give an army of 640,000 men, and 213 war-vessels. Ritter
thinks that these and many other statements of the geo-
grapher are taken from the court-almanac of King-ki-tao,
and that little reliance can be placed on them. (Broughton;
Maxwell, in Ellis's Journal of Lord Amherst's Embassy;
Mac Leod; Basil Hall; Hamel van Gorcum; Klaproth, in
San Kohf Tsou; and Ritter's Asien.)

CORELLI, ARCA'NGELO, on whom his countrymen
bestowed the cognomen of 'Il Divino,' was born at Fusig-
nano, in the Bolognese territory, in 1653. Adami says that
his instructor in counterpoint was Simonelli; and it appears
pretty certain that his master for the violin, the instrument
of his early adoption, and which he never abandoned, was
Giambattista Bassani of Bologna. It is stated by the Rev.
Mr. Mainwaring, in his Life of Handel, that Corelli went
in 1672 to Paris, but that through the jealousy of Lully
he was soon obliged to quit that city. On this fact Dr.
Burney attempts to throw discredit, but there is no reason
to doubt its correctness. In 1680 Corelli visited Germany,
where he received extraordinary honours, not only from the
public, but from sovereign princes, among whom the elector
of Bavaria distinguished himself by the hospitable manner
in which he treated the great musical genius. He returned
to Rome at the expiration of about two years, and pub-
lished his first set of 'Twelve Sonatas for two Violins and
a Base,' in 1683. A second series appeared in 1685, en-
titled 'Balletti da Camera.' These were succeeded in 1690

No. 468.

Corelli's greatest work, his Concerti Grossi, or Twelve Concertos, were written many years before they appeared in print. They were engraved in score at Amsterdam, and published in December, 1712, six weeks only before their author breathed his last, an event which took place on the 18th of January, 1713. He was buried in the church of Santa Maria della Rotunda (the antient Pantheon), where a monument, with a marble bust, is erected to his memory, near that of the greatest of painters, Raffaelle. On the pedestal is a Latin inscription by the cardinal Ottoboni, which records in simple and elegant terms the merits of the composer and the friendship of the writer.

Like many other original geniuses, Corelli was too sensitive to be happy. Occurrences which he should have suffered to pass unnoticed made a deep impression on him, even to the injury of his health. The success of Valentini, whose concertos and performance, though infinitely inferior to Corelli's, became fashionable at Rome, so much affected the great composer-who, having acquired much wealth, ought to have treated fashion with the disdain it generally deserves-that it is supposed to have aggravated the malady which caused his death. Corelli's best works are imperishable. Rousseau has said, that he who without tears can listen to Pergolesi's Stabat Mater may feel assured that he has no genius for music. We will also risk an assertion-that those who can without admiration hear the eighth concerto of Corelli, as performed at the Antient Concert, though they may be able to boast great powers of execution as instrumentalists or vocalists, can have no perception of the higher beauties of composition-can possess no soul for pure harmony.

CORFE CASTLE. [DORSETSHIRE.]

CORFU, the island of, the antient Corcyra, lies off the coast of Epirus, from which it is separated by a channel of very irregular width, being fourteen miles in some places, eight miles opposite the town of Corfu, and only two at its north outlet near Butrinto. The length of the island, which describes a slight curve from Cape St. Catharine,