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2. John Smith, "Philo-Accomptant," author of "Stereometrie; or the Art of Practical Gauging," &c.; London, 1673; and of "The Mysteries of Rhetorick Unveiled," with the same date.

3. John Smith, M. D., author of "King Solomon's Portraiture of Old Age;" London, 1676.

4. John Smith, of Walworth, co. Durham, author of a "Narrative of the Popish Plot;" London, 1679; and "No Faith to be given to Papists;" London, 1681.

The following works are by our author:

1. Horological Dialogues, in Three Parts, shewing the Nature, Use, and right Managing of Clocks and Watches; with an Appendix containing Mr. Oughtred's Method for calculating Numbers. The whole being a Work very necessary for all that make use of these kind of Movements. By J. S., Clock-maker. London, printed for Jonathan Edwin, at the Three Roses in Ludgate Street. 1675. Pp. 120.

This is a pleasantly written book. The introduction of Oughtred's name in the title and afterwards in the appendix sufficiently refutes the charge brought by Derham* against the author, of having copied Oughtred's tables without acknowledgment.

2. Of the Inequality of Natural Time, with its Reasons and Causes; together with a Table of the True Equation of Natural Dayes. Drawn up chiefly for the Use of the Gentry, in order to their more true Adjusting and right Managing of Clocks and Watches. By John Smith, C. M. London, 1686. Pp. 42.

3. Horological Disquisitions concerning the Nature of Time, and the Reasons why all Days from Moon to Moon are not alike Twenty-four Hours long in which appears the Impossibility of a Clock's being always kept exactly True to the Sun: with Tables of Equation, and newer and better Rules than any yet extant, how thereby precisely to adjust Royal Pendulums, and keep them afterwards as near as possible to the apparent Time. With a Table of Pendulums, shewing the Beats that any Length makes in an Hour. A Work very necessary for all that would understand the true Way of rightly managing Clocks and Watches. By John Smith, C. M. To which is added, The best Rules for the ordering and use both of the Quicksilver and Spirit Weather-glasses, and Mr. S. Watson's Rules for adjusting a Clock by the Fixed Stars. London, 1694. Pp. 92.

He says he means by "Royal Pendulums," those invented by "that eminent and well-known artist, Mr. William Clement;" and to this statement an allusion is made by the writer of the article on Clockmaking in Rees's Cyclopedia. These three works appear to have been superseded and nearly consigned to oblivion in consequence of the publication of "The Artificial Clock-maker," by W. Derham, F. R.S. It is amusing to observe how in this instance a justly celebrated divine of the Church of England has committed the same error, if it be an error, with the author, upon whom both he and another clergyman of the same communion severely animadvert. The Rev. Dr. Francis Gregory concludes his answer to John Smith by advising him, in the most insolent language, to write no more theology, but to go back to the noise of his hammers and the use of his pincers. We do not find that the

* Preface to "The Artificial Clock-maker."

ecclesiastic (Derham) was ever blamed for assuming the pincers and the hammer, although the reverse step was an intolerable offence in a clock-maker who ventured to differ from the doctrines of the Church.

4. A complete Discourse of the Nature, Use and right Managing of that wonderful Instrument, the Baroscope, or Quicksilver Weatherglass. In 4 Parts. By John Smith, C. M. To which is added, The True Equation of Natural Days; drawn up for the use of the Gentry, in order to their more true Adjusting and right Managing of Pendulum Clocks and Watches. London, 1688. Pp. 96.

5. The Art of Painting, wherein is included the whole Art of vulgar Painting, &c. &c. Composed by John Smith, Philomath. London, 1676. Pp. 84.

6. The Art of Painting in Oyl, &c. &c. By John Smith, C. M. Second Edition. London, 1687.

The third edition I have not seen. Fourth Edition. London, 1705. that is new, especially at the end,

This is a second edition of No. 5. 7. The Art of Painting in Oyl, &c. This fourth edition contains much "The whole Art and Mystery of colouring Maps and other Prints in Water Colours."

8. A short Introduction to the Art of Painting and Varnishing. London, 1685.

9. A short and direct Method of Painting in Water Colours, written by the late ingenious Mr. Smith. London, printed for and sold by Mary Smith, at the Fan and Flower-de-luce over against Somerset House in the Strand, and no where else. 1730. 4to.

The title of this tract shews that John Smith died either in 1730, or before that year. Another work, which I shall quote presently, proves that he was born before A. D. 1650. When he died, he must have been 80 years old, or perhaps more. These works relate entirely to what the author calls "the art of vulgar painting;" they do not concern painting as one of the Fine Arts. The author appears at first to have studied the use of oil and water colours, and also the art of varnishing, merely in connection with his business. The running title of the first edition of his "Art of Painting" is, "The Art of Painting Sun-dials." In all his treatises, his desire to publish whatever would be useful is very conspicuous.

10. The Curiositys of Common Water; or the Advantages thereof in Preventing and Curing many Distempers, gather'd from the Writings of several eminent Physicians, and also from more than Forty Years Experience. By John Smith, C. M. To which are added, Some Rules for preserving Health by Diet. The Second Edition, corrected. London, 1723. Pp. 80.

66

This book contains a great collection of very curious passages and facts from various authors, shewing the advantages of drinking water and applying it externally to the body. The author says he began himself to practise the use of it at 30 years of age, and went on to 74 (pp. 4, 53). He regards water as a universal remedy." This work appears to have been extremely popular. The tenth edition, dated "Edinburgh, 1740," contains "Additions communicated by Mr. Ralph Thoresby, F.R. S., and others :" it has the following motto in the title: "That's the best physick which doth cure our ills Without the charge of 'Pothecaries pills."

It is probable that other circumstances respecting this author might be ascertained by examining the parish register and church at Binfield, and the records of the Clock-makers' Company in the city of London. I have produced sufficient evidence to shew that he was a man of respectable character and of varied and extensive acquirements. That he should have been forced to recant what he had written, and what he no doubt solemnly believed to be true, is deeply to be lamented: but it should be remembered in his justification, that of all Courts those of the Church are the most cruel and relentless, and that their jurisdiction is rendered the more terrific by the uncertain and indefinite extent of the power which they assume; and likewise that John Smith was openly countenanced in his heresy by not a single individual of rank or influence, and was at that period almost the only Unitarian who ventured to publish with his name.

GENTLE REPROOF.

DEAL gently with the erring one-
You may not know the power
With which the first temptation came,
In some unguarded hour.

You may not know how earnestly

He struggled, or how well,

Until the hour of weakness came,
And sadly thus he fell.

Speak gently to the erring one;
Oh do not thou forget,
However deeply stained by sin,
He is thy brother yet.
Heir of the self-same heritage,
Child of the self-same God,
He hath but stumbled in the path
Thou hast in weakness trod.

Speak gently to the erring one,
For is it not enough

That peace and innocence are gone,
Without thy censure rough?
Oh sure it is a weary lot

That sin-crushed heart to bear,
And they who have a happier lot,
May well their chidings spare.

Speak gently to the erring one,
And thou may'st lead him back,

With holy words and looks of love,
From misery's thorny track.

Forget not, too, that thou hast sinned,

And sinful yet may be :

Deal gently with the erring one,

As God has dealt with thee.

CRITICAL NOTICES.

Georgics of Life: or, Scenes from the Town Life of the Poor. First Part of an intended Poem on that Subject. By J. Johns. 20. London-Chapman, Brothers.

Being the 8vo. Pp.

No one can have read the very interesting Reports connected with his Domestic Mission in Liverpool, put forth from time to time by Mr. Johns, without being struck with the deep and strong tide of philanthropy which gushes from his heart. With him it is no mere fancy-work. It has a deeper source. The Missionary whose sphere of labour is in the crowded alleys of a city, needs all the energy which pure Christian benevolence alone can give. Without this, we can scarcely conceive human drudgery more wearisome, or any scene of duty more painful and noisome than his. With this sacred principle in his heart, he will find or he will carry light into the darkest and gloomiest corner into which poverty has retreated to hide its rags. Love will keep alight the gentle flame of hope in the darker dens of misery and crime, where the foul exhalations will extinguish every other light. But in addition to his active sympathy with whatever is and suffers, our readers do not need to be told that Mr. Johns possesses very many of those intellectual qualities, so rarely seen in this hard-working world of ours, which make THE РОЕТ. Well is it for him and for his Mission, that, when the appalling miseries and the noisome scenes amidst which he is often called to walk, press too heavily on his soul, he can, with buoyant wing, transport his thoughts to an ideal land, where all is not guilt or woe. How much of his moral and physical energy may not our Mission-bard in Liverpool have drawn from his frequent fancy flights to

"Dear, distant Devon !"

The very contrast of the squalid scene before him, to that of

"Nature's calm eternities,"

where his spirit often flies for refuge and a resting-place, must clothe the banks of his native streams with an unfelt beauty, and endue their flowers, wild and luxuriant as they are, with new fragrance. But it were a great error to suppose that amidst the beauties or the sublimities of Nature, poetry exclusively or chiefly dwells. No, her chief seat is the heart of man. Wherever are hopes and joys, and fears and sorrows, there are a Poet's materials. Passed through the alembic of Christian genius, we believe, with our author, that "scenes from the town life of the poor" may be made to produce a distillation of the finest truths of poesy. We rejoice to find that Mr. Johns has prepared his muse for the adventurous flight, and we congratulate him with friendly warmth on the success of this his first, and only too brief, essay. This may be regarded as the beginning of a long-nay, an endless, poem, which need not be brought to a close for want of materials, so long as suffering preys on the human heart. It is well remarked in the "Advertisement," that" the subject is one of intense and growing interest, and not deficient in the essentials of true and deep poetry. If proceeded with, the work must, in one sense, be original: there can be no copying-except from the life. Its poetry must emanate from and depend upon its reality.-The elements of poetic creation are plentiful and ready; they only wait for the Voice of Light

to reveal them."

The Poem opens with an appropriate disclaimer of inspiration from a fabled muse, and proceeds to a solemn appeal and prayer to the "Almighty Spirit”— -"to whose knowledge high,

The shadows of the night, the heart, the grave,
The past, the future-all are crystalline

With glory, visible alone to Thee!"

It is the prayer of our Christian Poet that he may send forth "A voice not heard in vain, that yet may wake

A sympathy divine for human woe,

A feeling of deficient love, a sense

Of what is due to lost humanity

From those who call thee FATHER, whom thy Christ

Hath taught to see a brother in each form

That holds a soul undying."

"The first steps of Spring" carry him for a moment on one of those flights distant from the Mersey to which we have alluded. But he soon returns with untired wing, and alights near to "Green-Bank" and "the Dingle,”-sweet spots well known to every one acquainted with Liverpool, as consecrated to taste, intellectual hospitality and benevolence. We must give the close of the passage:

"Not alone

Springs smile on Devon. Here, on Mersey's shore,
She works delightful wonders. Lo, Green-Bank!
(Where Rathbone treads, there cannot but be flowers,)
The crocus blazes where the snowdrop late
Droop'd, to form nosegays for the gathering poor.
Or, turning thence to Mersey's woodland waves,
Wander adown the Dingle, where still live
The hospitalities of olden time:

Wisdom and worth, fine taste and gentle truth,
And charity, that fain would wipe all tears,-
Linger around those homes, and dream pure dreams,
Of love and good beneath the prompting shades.
Follow the windings of those walks, and own,

That Spring smiles not alone where Tamar flows,
But loves her Mersey well."

Thence we are transported into the midst of the bustle and glare and wealth and traffic of a commercial city. With another aim besides that of a happy description of a young mendicant and his arts, our judicious bard exposes the mischief wrought by the kind but heedless almsgiver:

VOL. II.

"The equipage whirls flashing by,

And, under Fashion's gorgeous veil, you meet

The thrilling glance of Beauty. Lo! where stops
Yon lovely form, and while the warm tear fills
Her eye with dewier lustre, drops her alms

Into the hat of the sly beggar boy.

His rags have caught her eye, his tones have touch'd
Her gentle heart; and on his tale she hangs,
As Pity listens to poor Misery, when,
Absorb'd and quicken'd by the stinging thought
That one so young should know so much of woe,
She passes. Others come: and, though full oft
Repulsed, and sometimes sternly, he renews
The moving tale, repeats the sob, the moan,
Calls up the practised tear, and, with red hand,
Wipes, or would seem to wipe, the blubber'd cheek;
The while, his wary eye is watching keen
The effect of all this tragi-comedy

On the new passers-by. Well does he know

When there is hope; and oft the dropping coin
Rewards and nerves his patience-still anew
Returning to the charge. But evening falls.
Deepens to brown the purple mountain ridge
Along the Welsh horizon; misty shades
Of leaden grey gather on Mersey's breast;
And the lamps whiten through the ghost of day.
Trace the young beggar to his haunts-his home:
2 Q

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