ing Eastern cities, it is anticipated will make a fair show. The Chicago artists have been allotted one gallery for the exhibition of their own works. Among the New York artists whose contributions are to be grouped is Mr. E. Moran, the marine-painter, who sends as his tour de force a large picture entitled "The Missing Ship." It is a twilight scene, with a great, cumulous cloud hanging over the horizon-line, and rising apparently out of the billowy sea, and "the missing ship" appears sailing on her unknown course in the dim and fading distance. Mr. Moran has given considerable thought to the composition of this work, and its expression of poetical sentiment will find many admirers. Mr. Moran also senda a view in New York Bay during a rain-squall, which is very spirited in its rendering of the effect of a short, chopping sea; and lighters, sloops, and other small vessels, scudding before the gale. De Haas, as his leading composition, sends a view in the British Channel, under the effect of a stormy sky; and a moonlight at sea, with vessels in the foreground, and a strong effect of soft, mellow-toned light shimmering on the water. Mr. Cropsey contributes one of his large autumn scenes on Greenwood Lake, with the forests upon its banks glowing with the crimson and golden tones peculiar to the season. From Mr. McEntee's easel there is a midwinter snow-storm, with figures portrayed with more than his usual force and impressiveness; and Mr. Casilear contributes a view of Lake Brien tz, Switzerland, under the effect of a silvery-toned sky, and the rugged features of the mountains on the distant shore, softened by atmospheric influence, which is introduced with marvelous subtilty and the most refined feeling. William Hart, George C. Lambdin, Frederick E. Church, James M. Hart, S. J. Guy, Albert F. Bellows, William T. Richards, A. H. Wyant, Eastman Johnson, William Magrath, J. B. Bristol, and J. G. Brown, are also well represented in the collection. The exhibition, we have every reason to believe, will be creditable to American art, and its influence upon art-culture at the West will no doubt prove salutary.

THE Committee on the Sumner Monument in Boston offered the sum of five hundred dollars for the three best models for it, but without engaging to use any of them. As a result, twenty-six models of Mr. Sumner are now on exhibition in the new post-office building of that city, and are quite interesting from their variety. The committee limited the pose to a sitting figure, and as such the subject is represented in the models. They have been made by artists from every quarter, and are of various degrees of excellence, two or three being conspicuously good above the rest. In most of these models reference is made, by the presence of colored people about the pedestal of the statue, to his connection with the slavery question. Mr. Sumner's figure and bearing when he was standing erect were very imposing, as everybody will remember, and, on this account, by restricting his posture to a sitting one, the committee have deprived the artists of their strongest advantage. Sitting, the

senator's figure in these models is, in most cases, insignificant, and, with one exception, is commonplace. A pleasant, easy form, in one instance, looks as if listening to an animated conversation. In another, considerable dramatic action is expressed in his head half turned round, as his eye glances at a manacled slave who is stretching toward him from behind. This figure is the only one in bronze color in the collection, and, while it is vicious so far as real art is concerned, has more than any of the others to raise it above the level of the portrait of an ordinary gentleman sitting for his likeness.

parlor-pictures with studies of modern cos tumes, as well as the exquisite finish he gives to them, has a Swiss mountain-scene with a party of young ladies and gentlemen taking a ride in a great open traveling-carriage. It is what may be termed a foreground picture, as the carriage and its pretty girls and their escorts take up the whole canvas. There is the same care shown in the drawing and painting of the figures and costumes which is so attractive in Boutibonne's interiors, but the composition is too elaborate apparently to be real. Its coloring is extremely brill iant and as harmonious as a poem. The col lection also embraces a Pompeian interior, with the figure of a graceful girl hiding be

SOME pictures at Goupil's are worthy of attention. One by Bouguereau is the more noteworthy from the fact that it was painted several years ago, and shows in its treatment the conscientious feeling which belonged to his earlier work, when he was painting more for fame than for money. The subject represents an Italian peasant-woman seated in a reclining attitude upon the leaning trunk of a great chestnut-tree, with two naked children playing upon the mossy-carpeted earth before her. The children are caressing each

other, and their action is watched with pleasure by their sweet but sad faced mother. | There are few artists who are the equal of Bouguereau in the treatment of this class of subjects. His drawing is excellent, and he throws around his groups an atmosphere of delicate refinement which appeals to every heart. In the painting of the flesh there is both a tenderness of tone and a transparency which reminds one strongly of his work in the picture of "The Twins" in Mr. Belmont's collection, which was also executed eight or ten years ago. Of CompteCalix's work there is a landscape with figures. It is one of his best efforts at figure-painting, and one in which the landscape is kept thoroughly subordinate. The scene is laid in a French park, and a pretty and spirited-looking bonne is shown in the foreground holding on to the skirts of a little truant boy and ap

plying a switch vigorously to his bare body and legs. He has been playing on the bank of the pool of water which is shown beside the group, and his ball and hat are floating away with the current. The pet dog belong. ing to the little truant is barking vigorously as the bonne plies her switch, and in the distance the ladies of the château are hurrying to the scene, their steps hastened, no doubt, by the lusty crying of the boy. The composition is graceful, and as a study of figures, in connection with a dark-wooded background, it presents many excellent qualities. Boutibonne, who is celebrated for his

the coming of a friend. There is a grey hound crouching at her feet, and other acces sories which add to the interest of the com position. The coloring is rich, and is strong ly suggestive of Cooman's work. There an works by Wyant, Ch. Jacque, J. G. Brown Baugniet, and other eminent names, whic are also worthy of attention.

THE buildings erecting for the Museur of Arts and the Museum of Natural Histor one within and one upon the border of Cer tral Park, are not likely to prove ornament to our pleasure-ground or to satisfy cult vated taste. It is a matter of surprise well as vexation that structures from whic we have all hoped so much should prove a solute architectural failures. Like so man recent up-town public buildings, they a constructed of brick with granite trimmin —a contrast of tones peculiarly raw and u pleasing, which should have been special avoided in view of the numerous conspic ous warnings the architects have been g ing; nor is the form of either of these mu um-buildings picturesque, noble, or inspir ing. They both have very much more

semblance to factories than to edifices voted to art and culture. That an instituti like the Museum of Art, the sole purpose which is to cultivate taste and afford instr tion in the arts, should deliberately house self in a shapeless and ugly pile of discorda material, is something to be greatly w dered at, and specially so in view of the w known art-taste of the president of the in tution.

A ORITICISM by the Neue Freie Presse o new statue by the Italian sculptor Monteve is as follows: "The art-critia Stendhal wi in the year 1828: 'Can sculpture represent Poleon as he gazes over the sea from the d

of St. Helena, or Lord Castlereagh at the ment of his suicide? Were that possible, nova's successor would be found.' Stend intended by this remark to point out impo ble material for the sculptor's art. The q tion has since then been answered in the brilliant manner by the modern sculptor M teverde. We had, at the Vienna Exhibit an opportunity of admiring his 'Jenner.' one had thought it possible to treat the ad vaccination artistically. Monteverde has complished the impossible, and fulfilled task. His latest statue, 'Labor,' is anot masterpiece in this direction; he has succe ed in expressing in the figure of a strong

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the dilemma whether he shall betake himself to work which leads in the end to solid domesticity, or to the public house which not unfrequently leads to the galleys. A mere glance at this figure leaves no doubt that it represents Labor. Monteverde at first intended to carry out his design by means of a group; he, however, destroyed the figure, nearly finished, of a genius showing the right way; the second figure, which the destroying hammer spared, speaks for itself and fully expresses to the artist's idea."

A WRITER in Fraser on "Artist and Critic" has some just comments, we think, on the disposition of artists to undervalue subject. "Most painters," he says, are so thoroughly and all but exclusively taken up with the technique, that they care little for any thing besides. The artist loves the art in a picture so much that he is jealous of the subject. Praise the subject, and he had almost as lief you praised the frame. I have often heard artists say that, in looking at a picture, the subject made no difference to them. That might be trivial or even ignoble, so long as there was good color, drawing, composition. Now, in my humble opinion, if the technique be the life of a picture, the subject is something even higher-it is the soul of it. Besides drawing, composition, and color, there must be expression. Drawing, composition, color, may be considered and estimated separately in a given picture; expression belongs to the whole work and to every part; and that which is pictorially expressed is the real subject and the soul of the picture."

THE project for a monument to Byron has Assumed larger proportions. Instead of a slab over his grave at Hucknall, it is now intended to erect a monumental statue of Byron in some public place in the metropolis, of such importance as to assume the character of a national monument. The scheme has not yet taken a definite shape; still, not only is a marble statue in contemplation, but also a canopy in classic style to protect it, and give importance to the work. For this purpose a sum of ten thousand pounds is required; and it is hoped that it may easily be raised among admirers of the poet. The Scott monument at Edinburgh cost fifteen thousand pounds.

From Abroad.

OUR PARIS LETTER.
August 8, 1875.

THE competition for prizes at the Conserva

toire has come to an end. In some repects the classes this year have given very atisfactory proofs of progress on the part of he pupils. The lucky prize-holders have a good time of it. Those who get the first prize or tragedy and comedy enter the Comédie Française at once, and the winners of the secand prize go to the company of the Odéon. In ike manner, the first prize for singing entitles he lucky holder to an immediate engagement the Grand Opéra. The jury on singing omprised, among others, such well-known ames as those of Ambroise Thomas, Gounod, nd Wartel, the teacher of Nilsson. M. Couarier, who carried off the first prize, has a most beautiful tenor voice, and was loudly aplauded. The Grand Opéra takes also the secnd prize-holder, M. Gally, who has a noble asso voice. There is promise of a new and illiant star in the galaxy of prima donnas in person of Mademoiselle Vergin, who car

he

ried off two first prizes, that for the Grand Opéra and that of the Opéra Comique. She is graceful, intelligent, and unaffected, and her double success called forth enthusiastic plaudits. The class of tragedy was lamentably small. Six gentlemen and one lady only presented themselves, and there was no first prize awarded. M. Marais, a pupil of M. Minuse, obtained the highest recompense accorded, that of a second prize, and the solitary female was not adjudged worthy of even honorable mention. The men fared as badly in the comedy class, wherein there were many more competitors, but Mademoiselle Samary, a pupil of M. Bressant, carried off the highest honors among the ladies. The small hall of the Conservatoire was crowded to suffocation. Numbers of people got in that had no right there and no entrance-ticket, by a very simple trick. To enter the vestibule it is merely necessary to show one's ticket at the door. The lucky ticket-holder, therefore, would enter, ramble around for a minute or two, and then pass his ticket through an open window to a friend outside, the same manoeuvre being repeated indefinitely. For be it known that it is very hard to gain entrance to the concours of the Conservatoire, and the desire to be present is of course in due proportion to the difficulty of obtaining the desired permission. Fortunately the weather was not very warm, or pupils, jury, and audience alike, would have been stewed in that hot, stuffy, little hall. The jury for tragedy and comedy was enough to give any poor novice a chill merely to contemplate appearing before them; it was composed of such names as those of Alexandre Dumas, Edouard Thierry, M. Perrin, Director of the Comédie Française, and Got and Delaunay, of the same theatre.

A good deal of interest was excited the other day among musical critics by the announcement that portions of a new opera called "Dimitri," by M. Victorin Joncières, was to be performed before M. Halanzier at the Grand Opéra with closed doors, the public being, of course, excluded. There have been many rumors afloat respecting this new opera, which is founded on the Russian historical legend of the pretender Demetrius, called in the libretto Dimitri. The author of the libretto is no other than M. de Bornier, in collaboration with M. Sylvestre. The work was all ready to be performed before M. Halanzier, when Madame Rosine Bloch, to whom the leading rôle had been confided, fell ill. She was replaced by Madame Furach-Madier, and the opera was finally gotten ready for the decisive trial. But, after singing the fourth number of the petition, a duet between the soprano and the tenor, Mademoiselle Daram was seized with a violent fit of hysterics, which put an end to the performance. Pas de chance, M. Joncières, no more than Madame Geneviève de Brabant!

M. de Lorgeril, whose persistent and not unreasonable opposition to the expenditure of the vast sums which have been lavished on the new opera-house has been unvarying and remarkable, came to the front again with a fresh charge of extravagance and unreasonable demands on the occasion of the late motion in the Assembly for a grant of three more millions (six hundred thousand dollars) to complete the edifice. His passionate appeal to the good sense and economy of his confrères was only met by shouts of derisive laughter. Finally everybody took to talking to his next neighbor instead of listening to the speech of M. de Lorgeril, and the feeble voice of the speaker was drowned in the hum of private conversations. After he got through, M. Cail

laux undertook to reply to him. His argument was that it was too late for economy, that the opera-house was built, and that it must be finished. Another deputy, M. Testelin, joined in the protestations of M. de Lorgeril, but in vain. The amount was granted by a large majority. The great art - failure of our century is consequently destined to swallow up three more million francs.

A few weeks ago I gave an extract from a forthcoming work entitled "Curious Papers of a Courtier," by the Vicomte de BeaumontVassy. Last Sunday the author stepped into his publishers' warerooms to confer with them about his just-published work, when a sudden rush of blood streamed from his mouth and he fell dead on the floor. His funeral took place yesterday. Sudden deaths seem to have been unusually rife amid the literary and artistic celebrities in France of late.

At its next private sitting the Academy is to take into consideration the prize of six thousand francs instituted by the late M. Guizot for the best work, whether in prose or in verse, that has appeared during the past ten years. How, in the name of all that is wonderful, will they ever manage to come to a decision? Of course, among the Forty, there must be a great diversity of literary tastessome must admire Victor Hugo, while others detest him; there must be those who swear by George Sand, others who adore Dumas, etc.; "La Légende des Siècles" will have one set of advocates," La Marquise de Villemer" another, and so on. I confess that I am quite curious to learn the result of their deliberations. But, if the prize were to be accorded to the work that had had the largest sale during the period aforesaid, what think you would be the winner of the Guizot prize? That almost unmentionable mass of filth, the "Mademoiselle Giraud, ma Femme," of Bélot, that precious novel having already passed through forty-two editions! A charming comment, truly, on the moral and literary tastes of the France of the present day!

Great men should have good memories, or at least should look closely to their statements. The royalist and imperialist papers are now making merry over a slip of the pen of Victor Hugo. In the preface to his last-published work, "Avant l'Exil," occurs the following passage.

"One October evening in the year 1812, I was passing the Church of St.-Jacques du Haut-Pas, holding my mother's hand. A large, white placard was posted up against one of the columns of the doorway. My mother stopped me, and said, 'Read.' This is what I read: Empire Français. By sentence of the First Council of War, the ex-Generals Malet, Guidal, and Laborie, have been shot in the plain of Grenelle.' 'Lahorie,' said my mother, remember well that name. He was your godfather.'"'

เ

Turn we now to "Victor Hugo: Related by a Witness of his Life," a work that was written under the poet's immediate supervision, if not from his actual dictation-indeed, some go so far as to say that he wrote it himself, which is more than probable. We open at page 220 and find the following paragraph:

"The next day Eugène and Victor were passing by St.-Jacques. One of the fine penetrating rains of autumn was falling. The rain was a pretext for the two children to linger in the street, and to shelter themselves under the colonnade. While they were laughing and playing, the attention of Victor was attracted by a placard. It was the sentence which had condemned Malet, Lahorie, and their accomplices, to death. The execu

At any rate, she is determined not to hide her light under a bushel, wherefore she is actually advertising over here, on our "hoardings" by means of "broadsides," her recently-published "tragedy in five acts," "Sappho !" Yet very much afraid am I that she won't make it pay, and this notwithstanding that, as the Graphic Bays with some truth, the play "is full of fire and force, and is thoroughly readable."

Mr. George Rignold is having a successful time of it at the Queen's. Understand, we don't puff and laud him as you do; still, we like him and go to hear and see him. Within the last few days he has assumed for our edification the character of Amos Clark. Amos Clark, I have no doubt you know, is the hero of the late Watts Phillips's drama of that name; moreover, it is one of Mr. Rignold's original parts, and he portrays it with both vigor and pathos. The young actor's wife, née Miss Marie Henderson, is Mildred Vaughan. WILL WILLIAMS.

tial success are the many records of absolute failure. In the year 1772 the Abbé Desfarges, canon of St.-Croix, at Etampes, announced that he would make a journey in the air seated in a flying-chariot. The time arrived; the spectators appeared in great numbers; and the clerical inventor took his seat in his chariot, which rested upon the tower of Guitel. This chariot is described as a kind of a boat or gondola, seven feet long and two and one-half broad, attached to which were broad wings, the weight of the whole being forty-eight pounds; this, added to that of the canon's body, gave a total weight of two hundred and thirteen pounds. When all was in readiness the signal was given; the wings, obedient to the efforts of the man beneath, began to flap; but, alas! the chariot did not move, and has not moved to this day. Another record of failure is that of the flying-man, invented by Jacob Degen, a watchmaker of Vienna, and here illustrated. This consisted

Science, Invention, Discovery. of two oval-shaped concave wings, made of

FLYING MEN AND MACHINES.

was Goethe who said, "We feel in us the germs of faculties which we must not expect to see developed in this life, and one of these is flying." While the German poet and philosopher, even in his most prophetic mood, dared not hope for an achievement for man that would make him the companion of the bird, others more bold, if not more wise, have long been busy in the at tempt to solve the problem of aërial navigation. We all remember the old Greek fable of "Dædalus and his son Icarus," how they made for themselves wings of feathers, fastened with thread and wax, and how the boy, heedless of the father's sage advice, flew too high, and so exposed his wax-fastened wings to the heat of the sun, which softened the wax, and thus precipitated the too bold navigator from the sea of air above into the sea of water beneath. This is but a fable, it is true, and yet the history of many subsequent ventures, though verified by authentic records, seems hardly less fanciful. Hartwig, in his recently-published work,* notices several of the more important of these attempts at flying. In the year 1678, one Besnier, a locksmith of Sabié, in France, constructed a machine which consisted of four wings or large flaps, which were worked by levers restng upon his shoulders, and moved alternateby hands and feet. By means of this conrivance, the inventor is said to have been ble to descend slowly through the air from reat heights, but all his efforts at ascent roved fruitless. Leonardo da Vinci is said have numbered a flying-machine among is many mechanical devices. In 1742, the arquis de Bacqueville attempted to fly om his residence on the Quai des Théatins, aris, to a point over the Seine. The voyage as bat half accomplished, however, when le wings ceased to act, and the noble maris came suddenly to earth. In addition to ese somewhat doubtful statements of par

The Aerial World. A Popular Account of the enomena and Life of the Atmosphere. By G. Hartwig, M. and P. D. New York: D. Appleton & 3.1875.

canvas stretched over a light wooden framework, and attached by means of a yoke round the neck. These canvas wings were set in motion by the aid of ingeniously-contrived handand-foot levers. So confident was Degen that he had discovered the secret at last, that, in the presence of a multitude, he made his first attempt by endeavoring to rise from the level ground. Failing in this, he ascended in a balloon, and, suspended from it by a rope, attempted to fly, but his best efforts were fruitless, and his name soon was added to the long list of "flying-men who failed to fly." In spite of these numerous failures, there are yet many hopeful souls, and we doubt not but that the patent records for each succeeding year contain the name and claim of some sanguine inventor and his machine. While we may find in our hearts some sympathy for the unfortunate Icarus, there seems to be little wisdom or justice in granting it to those of his imitators who sin, having greater light.

A careful study of the anatomy of birds and their muscular structure has caused the modern physicist to assert that, if a man would carry his heavy body through the air unaided by any buoyant medium, he will have to do it by means of wings having a surface of at least twelve thousand feet, which wings must needs beat the air several times a second. These are demonstrable facts, and yet the work of invention, experiment, and failure goes on.

Of a somewhat different order from the simple flying-man are several of the more recently-proposed methods of aërial navigation, which are designed to use gas and steam as allies. We recently announced that certain English engineers, of recognized position and professional ability, were engaged in the construction of an air-ship of novel form, which promised to prove a success. No one, however, save those in the confidence of the parties, is yet instructed as to its special merits.

It is by no means a favorable sign in connection with these efforts that in every instance the inventors are prone to surround their work with a halo or cloud of mystery, through which the inquisitive world is instructed not to penetrate or peer. While the Englishmen are at work, we, too, in America are not idle, as appears by the many though unsatisfactory accounts of the forthcoming Baltimore air-ship. Of the form and

structure of this American invention little is as yet known. The inventor is said to be confident, and, what is still better, to be supported by a rich patron. The Scientific American, which should know all about it, being the leading American mechanical journal, confesses to knowing very little. This little, however, reads as follows:

"So far as we can make out the construction of the invention, it includes a boat, made of oiled canvas and wire, sixty-five feet long. This has two masts of steel, each twenty

eight feet high, between which is extended an egg-shaped balloon, the points of the latter being held in a wire net-work. Around the middle of the balloon are girdles and nettings, the latter of which come down and support the car, which, we suppose, is the boat. At each end of the boat is a propeller, also of wire and canvas. One screw pulls and the other pushes. These are independent, and drive the boat in either direction.

66 Besides, there are two large rudders, one at each end, and also independent. On each side of the boat is fastened by hinges a wing thirty-five feet long by fifteen feet wide in front, ten feet wide behind, and concave beneath. These wings are driven at the rate of one hundred and seventy flaps per minute, and the propellers at twelve hundred revolutions, by an eight-horse hydraulic engine located in the car.

"The whole machine is to weigh eighteen hundred pounds and the balloon to hold eighty thousand cubic feet of gas; twelve thousand pounds of load are to be transported at the rate of seventy miles an hour in still air, and the ocean is to be crossed in fifty hours."

It would be vain and faithless in this age of invention to say men never will navigate the air, and yet we venture the prediction that that result will not be accomplished by means of any known force as now applied for the generation of motive power.

A FAVORITE theme with the editors of socalled health journals and household medical guides is that of "overwork," and so much has been written on this subject, and of such a nature, that, were we to believe and act upon the advice thus given, the world would become almost a hive of drones. We confidently believe that so far as honest brain-work goes the more we do of it the better, and, if owing to a reckless disregard of recognized hygienic and sanitary laws an occasional "student" finds an early grave, let the blame be put where it belongs, and not credited to the worthy zeal that some call "overwork." Having long held to this opinion, and believing that facts would sustain us, we are gratified to find that an eminent English physician has given expression to a like view, and, coming as it does from one high in authority, we trust it will receive the attention from both students and drones that it deserves. We condense from Dr. Wilk's communication as it appears in the Lancet as follows. After answering the simple question "Are people suffering from overwork?" with a decided "No!" the writer says: "Medically speaking, I see half a dozen persons suffering from want of occupation to one who is crippled by his labors. Very often, when a business man complains of being overdone, it may be found that his meals are irregular and hurried, that he takes no exercise, is rather partial to brandy-and-soda, and thinks it is not improper to poison himself with nicotine every night and morning." Passing from man to woman, the case is made to appear even more severe. It is not overwork, therefore, that is to be deprecated, provided the work is legitimate, and such as to claim a normal exercise of the functions. The brain is an engine of many horse-power; its energy must be accounted for in some way; if not used for good purposes it will be for bad, and "mischief will be found for idle hands to do." So the work is actually a safeguard. The human body is made for work, and just as the muscles are better prepared for work by previous training, so the nervous system,

whether it be the brain or spinal column, becomes more energized by use. It is only during sleep that the brain is actually inactive, and hence, if we will not give it work to do, it will find that to engage its energy, even though in the end the labor be profitless. After referring in a plain though hardly gentle manner to the men and women whom the frivolities of life keep "idly busy," the writer contrasts them with those whose minds are never at rest, and yet who live to a good old age. As the closing passages are not only truthful as to facts, but of value by the suggestions they contain, we are prompted to quote them at length, and should there be among our readers some of these overworked brain-workers, they will find in these words sage counsel and encouragement. The writer refers to the honest, cheerful, but constant workers as follows: "Practically they have no rest, for, when one object of study is complete, they commence to pursue another. It is by the happy faculty of diverting the powers into different channels that this is accomplished. Instances might easily be quoted of statesmen, judges, and members of our own profession, who know no absolute rest, and who would smile at the suspicion of hard work

injuring any man. I make it a custom to ask young men what their second occupation iswhat pursuit have they besides their breadearning employment. Those are happiest who possess some object of interest, but I am sorry to say there are few who find delight in any branch of science. The purely scientific man finds his best recreation in literature or art, but even in intellectual work so many different faculties are employed that a pleasant diversion is found in simply changing the kind of labor. For example, a judge after sitting all day, and giving his closest attention to the details of the cases before him, may yet find relief in his evenings by solving problems in mathematics. The subject of overwork, then, is one of the greatest importance to study, and has to be discussed daily by all of

us.

My own opinion has already been expressed, that the evils attending it on the community at large are vastly over-estimated; and, judging from my own experience, the persons with unstrung nerves who apply to the doctor are, not the prime-minister, the bishops, judges, and hard-working professional men, but merchants and stock-brokers retired from business, government clerks who work from ten to four, women whose domestic duties and bad servants are driving them to the grave, young ladies whose visits to the village school or Sunday performance on the organ are undermining their health, and so on. In short, and this is the object of the remarks with which I have troubled your readers, that in my experience I see more ailments arise from want of occupation than from overwork, and, taking the various kinds of nervous and dyspeptic ailments which we are constantly treating, I find at least six due to idleness to one from overwork."

husband's grave. As the memory of his bold achievements and brave service in the cause of knowledge has made the name of Sir John Franklin one which the whole world has come to honor, so will the memory of Lady Franklin's devoted love and untiring zeal ever command the affectionate reverence of us all. We learn from Nature that Jane Griffin, for such was her maiden name, was married to the great and upfortunate arctic explorer on November 5, 1828, and accompanied him almost constantly in the fulfillment of his duties until his departure on his last arctic voyage of discovery in 1845. She has naturally ever since taken the deepest interest in arctic exploration, and has herself directly done much to forward it by fitting out expeditions either entirely or partly at her own expense. It was she who sent out the Fox, which in 1857-'59, under Sir Leopold McClintock, did important service in arctic exploration and in the dis covery of the records and relics of the unfor-i tunate Franklin expedition. That her interest in arctic enterprise was strong to the verymats last is shown by the fact that she helped to equip the Pandora which so recently left our shores to attempt the northwest passage un-re der Captain Allen Young. For her services in this direction she received, on the return of the Fox, the gold medal of the Royal Geographical Society; she was the first woman one whom it was conferred, the only other one who obtained such a distinction being the late Mrs. Somerville. Until within the last few years, when incapacitated by old age and ill ness, Lady Franklin was herself an almost constant traveler: she had made a voyag round the world, and visited many of the principal places in Europe, North and South, America, Asia, and Australasia. She was, a... might be surmised, a woman of superior intel ligence, clear-sightedness, and great deter mination; her name will, no doubt, live along side that of her renowned husband.

THE Occasional reports from the exploring. ship Challenger are mainly of interest in con firming facts already announced. The result of soundings made between the Admiralt Islands and Japan are reported briefly as fol lows: The deepest trustworthy sounding wa four thousand five hundred and seventy-fiv fathoms (over five miles). The tube of th sounding-machine contained an excellent sam ple of the bottom, which was found to consis almost entirely of the siliceous shells of Ra diolaria. As illustrating the difficulty of ob taining true results as to temperature at thes great depths, it is said that three out of fou Miller Casella thermometers sent down these depths were crushed to pieces by th enormous pressure-between five and six ton to the square inch. The fourth registered, r fifteen hundred fathoms and below, the usu temperature of 34.5° Fahr. From this it af pears that there is a layer of water of unifort temperature occupying the ocean's bed havin a depth of eighteen thousand four hundred an fifty feet. This temperature seems to be un form, whatever may be that of the surfac currents. This fact, with that of pressure, it dicates that the sea is in by far its greater pa tion tenantless, because not fitted for the er couragement of maintenance of the highe forms of marine life.

It is announced that both a zoological an

inue of the Prince of Wales in his approach ing visit to India. Should this prove true, th popular interest in this proposed visit will b greatly enhanced; and, acting as they will b