him down in a post chaise to dine at Twickenham, because he said he had never seen the place. It is true the object of the lady's journey was to take up an estate, and Quill-drive contrived to be present. But citing and inviting are different things-so we will e'en venture upon the last stanza; it is so legitimate, and so descriptive of the present mode of proceeding.

A famous oyster cause deciding,
Once a sage-so records tell-
The oyster took, and then dividing,
Gave his suitors each a shell.
Now we of modern cloister,
Without the least ado,

At once take shell and oyster,

And eke "the clients too."

But since we are of counsel in this cause, we must hint that this song is not for the profane; it belongs especially to the craft, and ought to be sung at all meetings of law societies.

If indeed Madame Catalani could be persuaded to sing it instead of "God save the King," when encored, it would equal the addition of "the Constitution" to the King's name as a toast at public dinners. We submit this notion of ours to all managers of theatres, and ultra-loyal audiences, who think it indispensable to insist on a repetition of "the National Anthem," of which even the loyal-we say it under favour-begin to be horribly weary..

*This is a fact.

Content; a Ballad, written by J. R. Planché, Esq. the music by Bochsa. London. Chappell and Co.

The Thatch'd Cot; by C. M. Sola. London. Chappell and Co. We met and we parted; the words by T. Crofton Croker, Esq. the music by Alexander D. Roche. London. Power.

Three Rounds, with an Accompaniment for the Piano Forte; composed expressly for the use of Schools aud Private Families; the music by George B. Herbert; the poetry by J. R. Planché, Esq. Book 2. London. Goulding, d'Almaine, and Co.

We wish it were possible to reduce musical matter to some common form, as natural philosophers demonstrate the specific gravity of bodies by weighing them in water. Such an expedient would save us a world of trouble and anxiety, and we should then have some chance of precision. The three songs are nearly equal in merit, rising just above mediocrity.

The rounds are a second set, upon the same plan, and by the same hand as those we reviewed at page 548 of our Sixth volume. They are recommended by the same properties as the first book, and will afford very agreeable, and wholly unexceptionable practice for young singers, of either sex, in parts. These are written in imitation of the national styles of Arabia, Germany, and Spain.

Divertimento for the Piano Forte; composed by G. E. Griffin. London. Clementi and Co.,

A second Pot Pourri on Airs from Rossini and Weber; arranged with Variations and Embellishments for the Flute and Piano Forte; by C. Nicholson. London. Clementi and Co.

Mr. Griffin's divertimento has considerable merit, and is in a much higher style than such compositions usually attain. The larghetto is imaginative and forcible, and the allegro full of variety,

the subject being very attractive. Mr. G.'s style contains more of animation and novelty, perhaps, than of grace; still it is distinguished by good taste, and is of a character more likely to give general satisfaction to that class of performers to whose capacities his music is adapted, than that of many others. His divertimento is in this style, neither containing such difficulties as are insurmountable to any but finished players, nor descending to that facility which renders practice unnecessary to its just perform

ance.

Mr. Nicholson's beautiful Pot Pourri is in parts strongly indicative of his own style of performance, and if it were only for this, deserves particular notice. Rossini's celebrated preghiera, "Dal tuo stellato soglio," opens the piece, and it is here that our remark is most applicable. The voice part is assigned to the flute, and as it lies rather low for the instrument, great opportunity is given for that rich and lugubrious tone which Mr. N. produces; and this, being peculiarly adapted to the expression of the melody, shows how cautiously he has attended to effect. The air itself is sparingly but very tastefully ornamented, and after modulating from the original key (B flat major) to G major, Weber's chorus of "Bridesmaids," from Der Freischutz, is introduced. On this there is a characteristic variation, which is very pretty. Rossini's "Tu che i miseri conforte, Cara," is treated with much elegance, and the lesson is concluded by his "Ah che d'amore." from "Al idea di quel metallo," which is transformed into a lively waltz, and is managed in a very spirited and effective manner. lesson is not very difficult for either instrument.

The

The Banks of Allan Water, arranged with an Introduction and Coda for the Piano Forte; by Cipriani Potter. London. J.

Power.

Les Amis, a Divertimento for the Piano Forte; by P. Knapton. A Russian Pas redoublé, arranged with Variations for the Piano Forte; by P. Knapton. London. Goulding, D'Almaine, and Co.

Divertimento for the Piano Forte, with an Accompaniment for the Flute, (ad lib.), in which is introduced Bishop's Air of" The Camel's Bell;" by T. A. Rawlings. Goulding, D'Almaine and Co.

Fantasia for the Piano Forte, on Le petit Tambour; by J. H. Little. London. Power.

Mr. Potter's style is spirited and original, and he has formed a very agreeable lesson. The introduction is characteristic and managed with much ingenuity, and the arrangement of the theme is particularly good, but the Bolero at the conclusion we think neither consists with the character of the air (which ought surely to be considered in a degree), nor with the best taste.

Mr. Knapton's lessons are both good of their kind; they possess but little difficulty, but this is evidently intentional, and fully compensated by elegance and pleasing vivacity.

Mr. Rawlings is fertile in his compositions of the class before us, but they all possess the attractions of novelty and agreeable melody for those youthful students, who seek for amusement as well as study, and this divertimento holds out all the accustomed temptations.

The subject is in itself almost a sufficient recommendation for Mr. Little's fantasia, nor is its value by any means depreciated by his additions. It is a light, easy, and agreable lesson.

Le desir du plaisir, a Divertimento for the Piano Forte; by James Calkin. London. Gow and Co.

Masonic Air, with Variations for the Piano Forte; by William Calkin. London. Gow and Son.

Rondo on a favourite Theme, from Der Freischutz; by J. A. Tattet. London. Gow and Son.

Spanish Divertimento for the Piano Forte, with an Accompaniment for the Flute (ad lib); by F. J. Klose. London. Chappell and Co.

Partant pour la Syrie, with Variations for the Piano Forte; by T. Valentine. London. Chappell and Co.

Highland Air, with Variations for the Piano Forte; composed by G. Kiallmark. London. Chappell and Co.

These lessons are most of them by composers, whose merits are so well known in the easy but useful styles of piano forte music, that it is needless to notice them individually. The best are those of Mr. Kiallmark, Mr. Klose, and Mr. J. Calkin, which are extremely pretty, but they are none of them with out some recommendation.

The following is a list of the best arrangements published since our last :

Weber's Overture to Preciosa, arranged for the Piano Forte, with an Accompaniment for the Flute; and Book 1, of favourite Airs from Preciosa, for the Piano Forte and Flute; by T. Latour.

Book 16, of Rossini's favourite Airs, being a third Selection from Ricciardo e Zoraide, arranged for the Harp and Piano Forte, with Accompaniments for Flute and Violoncello (ad lib); by N. C. Bochsa.

Book 2, of favourite Airs from Zelmira, for the Harp, with Flute Accompaniment (ad lib); by N. C. Bochsa.

Overture to Tancredi, No. 1, of Rossini's Overtures, arranged for Harp and Piano Forte, with Accompaniments for Flute and Violoncello; by N. C. Bochsa.

1st Book of favourite Airs, from Il Turco in Italia, arranged