ration has failed of procuring water; though, by the spring flowing to the level of its source, the water does not always flow up above the ground, and indeed sometimes does not reach the surface; but, under these circumstances, by sinking a well a short distance, the water will flow plentifully. According to the altitude of the head, or source, of the spring, will be its force in rising. If the bore be made in a valley, and the source of the spring should be in the interior of a neighbouring hill, the stream would flow through the meandering fissures of the earth, and rise to its level, wherever a vent is given; and, under these circumstances, would flow above the surface of the outlet, by a pressure equal to the weight of a column of water between its level and the altitude

of the source. If the source be upon the same level as the outlet (whatever their distance apart), the water will flow to the surface only, without running over. But, if the source should be below the level of the outlet, then it will be necessary to sink a well down to that level, and a little lower, before a free supply of water will be furnished.

The expense of this process appears to be very trivial; the charges being four-pence per foot for sinking the first ten feet; eight-pence per foot for the second ten feet; twelve-pence for the third; and so on, increasing four. pence per foot at every additional ten feet of descent; this charge being for labour, exclusive of the cost of tubes whereas, the expense of ordinary well-sinking, amounts to about eight times that sum.

:

We cannot, with sufficient force, urge the consideration of this subject upon the notice of parish-officers generally the advantages of flowing springs of good water, which, by these means, may always be obtained on the sides of roads, and in a variety of other places

where water is not at present found, are incalculable; the cost very small, and the operation easy and expedi tious. Within one week, the operation of boring for the spring at Tottenham, was begun and finished, a depth of one hundred and five feet!

Review of New Publications.

Memoirs of Benvenuto Cellini, a Florentine Artist, written by himself, containing a variety of Information respecting the Arts, and the History of the Sixteenth Century. A new Edition, corrected and enlarged from the last Milan Edition; with the Notes and Observations of G. P. CARPANI. Now first translated by THOMAS ROSCOE, Esq. 2 volumes, 8vo. pp. 836.

"CELLINI," says HORACE WALPOLE, "was one of the most extraordinary men in an extraordinary age; his life, written by himself, is more amusing than any novel which I know." Notwithstanding this high recommendation of the work before us, we cannot permit it to pass before us sub silentio. It is a production with which every artist and every lover of the arts ought to be acquainted.

The following is a specimen of this interesting autobiography.

"About this time there came a sculptor to Florence, named Pietro Torrigiani, who was just arrived from England, where he had resided several years; and, as he was an intimate friend of my master's, he every day came to see him. This artist, having seen my drawings and my workmanship, said to me thus: 'I am come to Florence

Memoirs of Benvenuto Cellini.

205

to invite as many young persons as I can to England; and, having a great work in hand, I should be glad of the assistance of my fellow-citizens of Florence. I perceive that your manner of working and your designs are rather those of a sculptor than of a goldsmith: now I have considerable undertakings in bronze; so that, if you will go with me to England, I will at once make your fortune.' This Torrigiani was a handsome man, but of consummate assurance, having rather the air of a bravo than of a sculptor: above all, his strange gestures and his sonorous voice, with a manner of knitting his brows, enough to frighten every man that saw him, gave him a most tremendous appearance; and he was continually talking of his great feats among those bears of Englishmen. His conversation one day happened to turn upon Michel-Angelo Buonarroti; and a drawing of mine taken from one of the cartoons of that divine artist was what gave rise to this discourse.

"This cartoon was the first in which Michel-Angelo displayed his extraordinary abilities, as he made this and another, which were to adorn the hall of the palace where the senators assembled, in emulation of Lionardo da Vinci: they represented the taking of Pisa by the Florentines. The admirable Lionardo had chosen for his subject a battle fought by cavalry, with the taking of certain standards, in which he acquitted himself with a force of genius that cannot be surpassed by conception. Michel-Angelo Buonarroti, in his cartoon, exhibited a considerable body of foot, who were bathing in summer time in the river Arno; at this very instant, he represents an alarm of battle, and all the naked soldiers rushing to arms, with gestures so admirably expressive that no ancient or modern performance was ever known to attain to so high a degree of perfection; and, as I have already

observed, that of thegreat Lionardo was also a work of extraordinary beauty. These two cartoons stood, one of them in the Palace of the Medici, the other in the pope's hall. So long as they remained there, they were the school of the world; and, though the divine Michel Angelo painted the great chapel of Pope Julius, he never again rose to that pitch ofexcellence: his genius could not reach the force of those first essays.

*

"Let us now return to Pietro Torrigiani; who, holding the above-mentioned drawing of mine in his hand, spoke thus: "This Buonarroti and I went, when we were boys, to learn to draw at the chapel of Masaccio, in the church of the Carmelites; and it was customary with Buonarroti to rally all those who were learning to draw there. One day, amongst others, a sarcasm of his having stung me to the quick, I was provoked to an uncommon degree; and, having doubled my fist, I gave him so violent a blow upon the nose that I felt the bone and cartilage yield under my hand as if they had been made of paste, and the mark I then gave him he will carry to his grave.' This rodomontade raised in me such an aversion to the fellow, because I had seen the works of the divine Michel Angelo, that far from having any inclination to go with him to England, the very sight of him gave me offence.”+

These are now lost. That by Buonarroti was engraved by Marc Antonio Raimondi. Some part of Lionardo's designs appeared in a publication entitled the Etruria Pittrice.

† Torrigiani began to study designs in bis own country, as we have already seen, under the name of Bertoldo. He soon became famous in sculpture, and works of plaster and bronze, but was of such an envious and haughty disposition that he actually destroyed the productions of his fellow-students, when he thought they surpassed his own. From this cause, and for giving Michel-Angelo a violent blow

Polytechnic and Scientific Entelligence.

GREAT BRITAIN.

Surrey Institution.

THE following courses of Lectures will be delivered in the ensuing season, at this literary academy :—

On the History and Utility of Literary Institutions, by JAMES JENNINGS, Esq. on Friday, Nov. 1, at seven o'clock in the evening.-On Chemistry, by GOLDSWORTHY GURNEY, Esq. in the course of November.-On Music, by W. CROTCH, Mus. Dr. Professor of Music in the University of Oxford.-And on Pneumatics and Electricity, by CHARLES WOODWARD, Esq. early in 1823.

We understand, that the Prospectus issued by the committee appointed to re-organize this Institution, has been very generally approved; and that many gentlemen have already enrolled their names as patrons and supporters of this useful and important establishment.

in the face, which occasioned the remarkable depression in that great man's nose, he was obliged to leave Florence. He then worked at Rome, for Alexander VI. and soon after entered the army of Duke Valentine, Paolo Vitelli, and Pietro de Medici, the last of whom he saw drowned in the Gargliano. Returning to his studies, he passed over into England, where he acquired great reputation as a sculptor; and unfortunately proceeded thence to Spain, where he was employed by a grandee in modelling a statue of the Virgin. Not receiving the promised reward, in a fit of passion he dashed his work to pieces; for which he was basely denounced by the disappointed Spaniard to the Inquisition. In order to escape being burnt alive for heresy, he starved himself to death in the dungeons of the Inquisition, 1522. Some remnants of the fatal statue are still to be seen in Spain, in particular a hand, which exhibits a perfect model.