a character used to express one of the simple sounds of the voice; and as the different simple sounds are expressed by different letters, these, by being differently compounded, become the visible signs or characters of all the modulations and mixtures of sounds used to express our ideas in a regular language; (See Language). Thus, as by the help of speech we render our ideas audible; by the assistance of letters we render them visible, and by their help we can wrap up our thoughts, and send them to the most distant parts of the earth, and read the transactions of different ages. As to the first letters, what they were, who first invented them, and among what people they were first used, there is still room to doubt: Philo attributes this great and noble invention to Abraham; Josephus, St Irenaeus, and others, to Enoch; Bibliander, to Adam; Eusebius, Clemens Alexandrinus, Cornelius Agrippa, and others, to Moses; Pomponius Mela, Herodian, Rufus Festus, Pliny, Lucan, &c. to the Phoenicians; St Cyprian, to Saturn; Tacitus, to the Egyptians; some, to the Ethiopians; and others, to the Chinese: but, with respect to these last, they can never be intitled to this honour, since all their characters are the signs of words, formed without the use of letters; which renders it impossible to read and write their language without a vast expense of time and trouble; and absolutely impossible to print it by the help of types, or any other manner but by engraving or cutting in wood. See Printing.

There have been also various conjectures about the different kinds of letters used in different languages; thus, according to Crinitus, Moses invented the Hebrew letters; Abraham, the Syriac and Chaldee; the Phoenicians, those of Attica, brought into Greece by Cadmus, and from thence into Italy by the Pelagians; Nicofratra, the Roman; Isis, the Egyptian; and Vulfilas, those of the Goths.

It is probable, that the Egyptian hieroglyphics were the first manner of writing: but whether Cadmus and the Phoenicians learned the use of letters from the Egyptians, or from their neighbours of Judea or Samaria, is a question; for since some of the books of the Old Testament were then written, they are more likely to have given them the hint, than the hieroglyphics of Egypt. But wheresoever the Phoenicians, learned this art, it is generally agreed, that Cadmus, the son of Agenor first brought letters into Greece; whence, in following ages, they spread over the rest of Europe. See Alphabet and Writing.

Letters make the first part or elements of grammar; an assemblage of these compose syllables and words, and these compose sentences. The alphabet of every language consists of a number of letters, which ought each to have a different sound, figure, and use. As the difference of articulate sounds was intended to express the different ideas of the mind, so one letter was originally intended to signify only one sound, and not, as at present, to express sometimes one sound and sometimes another; which practice has brought a great deal of confusion into the languages, and rendered the learning of the modern tongues much more difficult than it would otherwise have been. This consideration, together with the deficiency of all the known alphabets, from their wanting some letters to express certain sounds, has occasioned several attempts towards an universal alphabet, to contain an enumeration of all such single sounds or letters as are used in any language. See Alphabet.

Grammarians distinguish letters into vowels, consonants, mutes, liquids, diphthongs, and characteristics. They are likewise divided into capital and small letters. They are also denominated from the shape and turn of the letters; and in writing are distinguished into different hands, as round-text, German-text, round-hand, Italian, &c. and in printing, into Roman, Italic, and black letter.

The term Letter, or Type, among printers, not on- ly includes the CAPITALS, SMALL CAPITALS, and small letters, but all the points, figures, and other marks cast and used in printing; and also the large ornamental letters, cut in wood or metal, which take place of the illuminated letters used in manuscripts. The letters used in printing are cast at the ends of small pieces of metal, about three quarters of an inch in length; and the letter being not indented, but raised, easily gives the impression, when, after being blacked with a glutinous ink, paper is closely pressed upon it.

See the articles PRINTING and TYPE. A font of letters includes small letters, capitals, small capitals, points, figures, spaces, &c.; but besides, they have different kinds of two-line letters, only used for titles, and the beginning of books, chapters, &c. See FONT.

Letter is also a writing addressed and sent to a person. See EPISTLE.

The art of epistolary writing, as the late translator of Pliny's Letters has observed, was esteemed by the Romans in the number of liberal and polite accomplishments; and we find Cicero mentioning with great pleasure, in some of his letters to Atticus, the elegant specimen he had received from his son of his genius in this way. It seems indeed to have formed part of their education; and, in the opinion of Mr Locke, it well deserves to have a share in ours. "The writing of letters (as that judicious author observes) enters so much into all the occasions of life, that no gentleman can avoid shewing himself in compositions of this kind. Occurrences will daily force him to make this use of his pen, which lays open his breeding, his sense, and his abilities, to a severer examination than any oral discourse." It is to be wondered we have so few writers in our own language who deserve to be pointed out as models upon such an occasion. After having named Sir William Temple, it would perhaps be difficult to add a second. The elegant writer of Cowley's life mentions him as excelling in this uncommon talent; but as that author declares himself of opinion, "That letters which pass between familiar friends, if they are written as they should be, can scarce ever be fit to see the light," the world is deprived of what no doubt would have been well worth its inspection. A late distinguished genius treats the very attempt as ridiculous, and professes himself "a mortal enemy to what they call a fine letter." His aversion however was not so strong, but he knew to conquer it when he thought proper; and the letter which closes his correspondence with bishop Atterbury is, perhaps, the most genteel and manly address that ever was penned to a friend in disgrace. The truth is, a fine letter does not consist in saying fine things, but in expressing ordinary ones in an uncommon manner. It is the propriety communia dicere, the art of giving grace and elegance to familiar occurrences, that constitutes the merit of this kind of writing. Mr Gay's letter, concerning the two lovers who were struck dead with the same flash of lightning, is a matter-piece of the sort; and the specimen he has there given of his talents for this species of composition makes it much to be regretted we have not more from the same hand.

Of the Style of Epistolary Composition. Purity in the choice of words, and justness of construction, joined with perspicuity, are the chief properties of this style.

Accordingly Cicero says: "In writing letters, we make use of common words and expressions." And Seneca more fully, "I would have my letters to be like my discourses, when we either sit or walk together, unflustered and easy." And what prudent man, in his common discourse, aims at bright and strong figures, beautiful turns of language, or laboured periods? Nor is it always requisite to attend to exact order and method. He that is master of what he writes, will naturally enough express his thought without perplexity and confusion; and more than this is seldom necessary, especially in familiar letters.

Indeed, as the subjects of epistles are exceedingly various, they will necessarily require some variety in the manner of expression. If the subject be something weighty and momentous, the language should be strong and solemn; in things of a lower nature, more free and easy; and upon lighter matters, jocose and pleasant. In exhortations, it ought to be lively and vigorous; in consolations, kind and compassionate; and in advising, grave and serious. In narratives, it should be clear and distinct; in requests, modest; in commendations, friendly; in prosperity cheerful, and mournful in adversity. In a word, the style ought to be accommodated to the particular nature of the thing about which it is conversant.

Besides, the different character of the person, to whom the letter is written, requires a like difference in the modes of expression. We do not use the same language to private persons, and those in a public station; to superiors, inferiors, and equals. Nor do we express ourselves alike to old men and young, to the grave and facetious, to courtiers and philosophers, to our friends and strangers. Superiors are to be addressed to with respect, inferiors with courtesy, and equals with civility; and every one's character, station, and circumstances in life, with the relation we stand in to him, occasions some variety in this respect. But when friends and acquaintances correspond by letters, it carries them into all the freedom and good-humour of conversation; and the nearer it resembles that, the better, since it is designed to supply the room of it. For when friends cannot enjoy each other's company, the next satisfaction is to converse with each other by letters. Indeed, sometimes greater freedom is used in epistles, than the same persons would have taken in discoursing together; because, as Cicero says, "A letter does not blush." But still nothing ought to be said in a letter, which, considered in itself, would not have been fit to say in discourse; though modestly perhaps, or some other particular reason, might have prevented it. And thus it frequently happens in requiets, reproofs, and other circumstances of life. A man can ask that by writing, which he could not do by words, if present; or blame what he thinks amiss in his friend with greater liberty when absent, than if they were together. From hence it is easy to judge of the fitness of any expression to stand in an epistle, only by considering, whether the same way of speaking would be proper in talking with the same person. Indeed, this difference may be allowed, that as persons have more time to think, when they write, than when they speak; a greater accuracy of language may sometimes be expected in one, than the other. However, this makes no odds as to the kind of style; for every one would choose to speak as correctly as he writes, if he could. And there- fore all such words and expressions, as are unbecom- ing in conversation, should be avoided in letters; and a manly simplicity free of all affectation, plain, but decent and agreeable, should run through the whole. This is the usual style of Cicero's epistles, in which the plainness and simplicity of his diction is accom- panied with something so pleasant and engaging, that he keeps up the attention of his reader, without suf- fering him to tire. On the other hand, Pliny's style is succinct and witty; but generally so full of turns and quibbles upon the sound of words, as apparently render it more stiff and affected than agrees with conversation, or than a man of sense would choose in discourse, were it in his power. You may in some measure judge of Pliny's manner, by one short letter to his friend, which runs thus: "How fare you? As I do in the country? pleasantly? that is, at leisure? For which reason I do not care to write long letters, but to read them; the one as the effect of niceness, and the other of idleness. For nothing is more idle than your nice folks, or curious than your idle ones. Farewell." Every sentence here consists of an anti- thesis, and a jingle of words, very different from the style of conversation, and plainly the effect of study. But this was owing to the age in which he lived, at which time the Roman eloquence was sunk into puns, and an affectation of wit; for he was otherwise a man of fine sense and great learning.

**Letter of Attorney**, in law, is a writing by which one person authorizes another to do some lawful act in his stead; as to give seizin of lands, to receive debts, sue a third person, &c.

The nature of this instrument is to transfer to the person to whom it is given, the whole power of the maker, to enable him to accomplish the act intended to be performed. It is either general or special: and sometimes it is made revocable, which is when a bare authority is only given; and sometimes it is irrevo- cable, as where debts, &c. are assigned from one per- son to another. It is generally held, that the power granted to the attorney must be strictly pursued; and that where it is made to three persons, two cannot execute it. In most cases, the power given by a let- ter of attorney determines upon the death of the per- son who gave it. No letter of attorney made by any seamen, &c. in any ship of war, or having letters of marque, or by their executors, &c. in order to em- power any person to receive any share of prizes or bounty-money, shall be valid, unless the same be made revocable, and for the use of such seamen, and be signed and executed before, and attested by, the cap- tain and one other of the signing officers of the ship, or the mayor or chief magistrate of some corporation.

**Letter of Mart or Marque.** See **Marque**.

**Letters Patent or Overt**, are writings sealed with the great seal of England, whereby a man is autho- rized to do, or enjoy any thing, which, of himself, he could not do. See **Patent**.—They are so called, by reason of their form; as being open, with the seal affixed, ready to be shown for the confirmation of the authority given by them.

**Lettuce**, in botany. See **Lactuca**.

**Levant**, in geography, signifies any country situated to the east of us, or in the eastern side of any continent or country, or that on which the sun rises.

**Levant**, is also a name given to the eastern part of the Mediterranean sea, bounded by Natolia or the Lesser Asia on the north, by Syria and Palestine on the east, by Egypt and Barca on the south, and by the island of Candia and the other part of the Medi- terranean on the west.

**levator**, in anatomy, a name given to several muscles. See **Anatomy**, Table of the Muscles.

**Leuca**, in antiquity, a geographical measure of length in use among the later Gauls; which, accord- ing to Jornandes, who calls it *leuga*, contained fif- teen hundred paces, or one mile and a half. Hence the name of league, now reckoned at three miles; in the lower age, called *leuva*.

**Leucadendron**, in botany: A genus of the monogynia order, belonging to the tetrandria clas of plants; and in the natural method ranking under the 48th order, *Aggregata*. The florets are tripetalous, with one petal of each trifid; the receptacle is a little villosus; there is no proper calyx; the antherae are al- most coiled.

**Leucadia**, formerly called *Neritis*, a penin- sula of Acarnania, (Homer); but afterwards, by cutting through the peninsula, made an island, as it is at this day, called *St Maura*.

**Leucas**, (anc. geog.), formerly called *Neritos* and *Neritum*, a town of Leucadia or Leucas; situated near a narrow neck of land, or isthmus, on a hill fac- ing the east and Acarnania: the foot or lower part of the town was a plain lying on the sea by which Leucadia was divided from Acarnania, (Livy); though Thucydides places Leucas more inward in the island, which was joined to the continent by a bridge. It was an illustrious city, the capital of Acarnania, and the place of general assembly.

**Leucata**, or **Leucate**, (anc. geog.); a pro- montory of Leucadia according to Strabo, a white rock projecting into the sea towards Cephalenia, on which stood a temple of Apollo surnamed *Leucadius*. At his festival, which was annually celebrated here, the people were accustomed to offer an expiatory sacrifice to the god, and to avert on the head of the victim all the calamities with which they might be threatened. For this purpose, they made choice of a criminal con- demned to die; and leading him to the brink of the promontory, precipitated him into the sea amidst the loud shouts of the spectators. The criminal, how- ever, seldom perished in the water: for it was the custom to cover him with feathers, and to fasten birds to his body, which by spreading their wings might serve to break his fall. No sooner did he touch the sea, than a number of boats stationed for the purpose flew to his assistance, and drew him out; and after be- ing thus saved, he was banished for ever from the territory of Leucadia. (Strabo, lib. io. p. 452.)

According to ancient authors, a strange opinion concerning this promontory prevailed for some time among the Greeks. They imagined that the leap of Leucata was a potent remedy against the violence of love. Hence disappointed or despairing lovers, it is said, were often known to have come to Leucadia; and, having ascended the promontory, offered sacri- fices Leucippus fixes in the temple, and engaged by a formal vow to perform the desperate act, to have voluntarily precipitated themselves into sea. Some are reported to have recovered from the effects of the fall; and among others mention is made of a citizen of Butyroton, in Epirus, whose passions always taking fire at new objects, he four times had recourse to the same remedy, and always with the same success. As those who made the trial, however, seldom took any precaution to render their failure rapid, they were generally destroyed; and women often fell victims to this act of desperation.—At Leucata was shown the tomb of Artemisia, that celebrated queen of Caria who gave so many proofs of courage at the battle of Salamis. Inflamed with a violent passion for a young man who inflexibly refused her love, she surprised him in his sleep and put out his eyes. Regret and despair soon brought her to Leucata, where she perished in the waves notwithstanding every effort to save her. Such likewise was the end of the unhappy Sappho. Forsaken by her lover Phaon, she came hither to seek relief from her sufferings, and found her death. (Menand. ap. Strab. lib. 10. p. 452.)