ainted with the dozen or so of essays which ve character to the volume, we can promise many agreeable half-hours.

Ir is rarely that we find a manual of the nd which so completely fulfills the promise its plan as Mr. John Phin's "Practical Wrints on the Selection and Use of the MicroHope" (New York: Industrial Publication ompany). It is scarcely larger than an ornary tract, but the author manages to connse into that brief space a very lucid analis of the structure of the microscope, a dl and fair description of the different kinds hi instruments, with special reference to eir qualities, detailed directions for their se and protection, and valuable hints on e collection, preparation, preservation, and ounting of objects intended for examinaton. All this information is presented in ach simple and practical shape that the erest tyro in the use of scientific instruents can apply it; and at the same time here are many suggestions which experiaced microscopists would doubtless find seful. The author is evidently an expert in oth the theory and practice of microscopy, nd he has taken the trouble to gather just such facts concerning the character of the arious styles of instruments as will save the eginner in the science from making a fatal aistake at the start.

THE same publishers issue another and imilar tract on 66 The Pistol, and how to ase it." Its author follows Mr. Beecher's example in preaching the gospel of self-defense, and his directions for the selection of a weapon and for acquiring skill in its use seem to be all that the average citizen will require in order to protect his person and property from the spoiler.

A GENTLEMAN of Troy has written a new drama, based upon the story of General Arnold's treason. The Tribune, mentioning this fact, makes the following suggestive comment apon it: "Mr. Sula recently suggested this opic as a good one for an American drama. It seems to be forgotten that several dramas, all uncommonly commonplace, have been proboduced, with General Washington for the good

hero and Benedict Arnold for the bad one. Every attempt to put Washington upon the stage has resulted in ridiculous failure; partly because he is too near our times, but mainly because he had nothing dramatic in his charcter. He was too cold and stately for the tage-too virtuous to inspire terror, and too grand for pity. All attempts to convert him nto an Achilles, a Hector, or even a Corioanus, must result in dramatic disaster. As or Arnold, he was a mere Connecticut shopeeper turned soldier-a sensual, selfish, and howy person, on neither side great. The ragedy must of necessity culminate in the anging of André; but there is nothing heroeither in the deeds of a spy or in his hempn expiation. In spite of Mr. Sala's opinion, defy anybody to write much more than a oisy melodrama upon the West Point events. he capture of André and the distress of Mr. Arnold are not enough to carry a great play.” THE Athenæum observes that "if novelists re guided by popular taste in the selection of career for their heroes, it would seem as if a

good time was coming for literary men. The earnest and athletic clergyman, the stalwart though dissolute Guardsman, the rollicking naval officer, seem to be yielding their place in public estimation to the brilliant essayist, the smart play-writer, or the slashing reviewer. Miss Braddon has succumbed to his fascinations, and now Mrs. Ross-Church is attempting, not without success, to interest us in his fortunes."

There exists, in St. Mark's Library at Venice, a manuscript in the handwriting of John Locke, consisting of notes on medical subjects, which is the more curious if, as has been said, Locke was averse from allowing it to be known that he once intended to practise medicine. . . . The Saturday Review gets into a comical state of bewilderment over the word "waffles" in Mr. Nadal's "Impressions of London Social Life." "We pause," it says, 66 to ask what are waffles? Are they akin to terrapins, or eaten with cream, or fried in bread-crumbs?" . . . It is said that the forthcoming posthumous writings of Hans Christian Andersen will contain seyeral unpublished verses sent to him by Mrs. Browning, Leigh Hunt, Wordsworth, and others. The number of private letters from the leading literary men of England which Hans Andersen received during the last fifteen years of his life is said to be extraordinary, and the most interesting of these will also be published. . . . Reviewing "The Life and Growth of Language," the Academy says: "Professor Whitney is the leading representative of what may be termed the common-sense school of philology, which has fitly found its advocate among our Anglo-Saxon brethren of America. The same objections of superficiality and narrowness which the followers of Kant and Hegel have raised against Reid or Stewart, or the later representatives of utilitarianism in this country, will doubtless be brought forward against Professor Whitney's philological system; but none at least will be able to deny its simplicity, its clearness, and its commendability to common-sense."... A set of the Chinese version of the Buddhist Scriptures has just been presented to the English IndiaOffice. The work weighs three tons and a quarter.

The Arts.

is at his fingers' ends, we judged, when, in pointing out to us the peculiarities of the picture, he showed us certain spots in the face where the herring-bone thread of the canvas was concealed by heavy coatings of paint-coatings which were usually so thin and delicate as to allow the shape of the threads of canvas beneath them to be perfectly observable. This portrait is the exact size of the original, and, in addition to his own memory, Mr. Page relies upon a photograph for its form and drawing. A brotherartist procured for him, at Florence, canvas of the same texture as that which Titian used, that no means might be wanting to complete the likeness, for everybody will remember the different look which pictures acquire if they be painted on coarse or fine canvas, on wooden panels or on copper—a look which no tricks of paint can perfectly imitate.

If Titian's portraits usually question us, his picture of himself has this power in a most eminent degree. A great many people will remember it, with its intellectual head and eyes, its fur mantle about the shoulders, which increase the size and presence of the artist beyond his usual dimensions, the gold chains worn across his breast, and in the bottom of the portrait the likeness of one hand, with which he pushes aside his palette, while his head, turned slightly in the other direction, says to the spectator, "My work is finished". —a statement with which we fully agree as we examine the marvelous drawing, the splendid color, and the perfect balance of the form and composition of the painting. Mr. Page has made a very impressive thing of his beginning of this copy, and, standing in his studio, as it does, surrounded by likenesses of other people of other times, this picture, though it be but a copy, looks so grand, so dignified, and so intellectual, that we are convinced that even a copy from such a hand as Mr. Page's is a great work of art, and may be of real and vital value. Copies are, in our opinion, usually worse than nothing. They are generally manufactured by men of little artistic perceptions, and, as Hawthorne says in his note-book, speaking of the crowds of copyists who obstruct the

says that, "while we question the portraits of other artists, Titian's portraits question us." This remark, the result of keen observation, is a very just one, for there are no pictures in the world in which the force and personal character of the originals are felt so positively as in the quiet, self-contained faces of Titian's men and women. With their eyes of paint they seem to fathom and penetrate deeper into us than they allow their own consciousness to reveal itself to our curious gaze.

peculiar grace or power that gives reputation to the originals. But copies have a very different value when they are renderings by fine artists of the thought, the intention, and the mechanical appliances of other men, with whose works they have saturated their minds and feelings. Since it is so very difficult to get originals by the great masters, it would be the next best thing to it, after museums and galleries have been supplied with photographs and carbons, to commission a few of the best artists, either American or foreign, each to produce for us the favorite works of his favorite old master. Then at least the copies would be works of art, and Titian interpreted by Page, Francia by La Farge, or Da Vinci by Allston, had it been possible, would have formed a most delightful collection of pictures around which our imaginations could rally.

are is solidly painted, and might be studied | to advantage by some of our artists who secure their effects by repeated glazing at the expense of permanence. As the first picture of any importance sent out for public exhibition since the opening of the present season, Mr. Hubbard is entitled to more dithan ordinary credit for the success of his early autumn work.

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AN exhibition of Kaulbach's works has been added to the art-attractions of Nuremberg. The restoration of the Tuileries has been, it is said, determined upon. The plan is to unite it to the Louvre by two large galleries, and to remove to it the collection of modern pictures now in the Luxembourg.. M. Baudry, painter of the foyer-pictures at the Paris Opera-House, is about to represent the history of Joan of Arc in twelve pictures.

The mural paintings which decorate the vestibule of the museum at Antwerp, painted by M. N. de Keyser, are said to be remarkable works, and to notably increase the art-reputation of that city.

ON

Music.

the evening of October 4th, Mademoiselle Titiens made her first appearance in America. Aside from the curiosity of the public to know for themselves the basis of this singer's great fame, her appearance in this country was an event to the musical art-world of more than ordinary interest, as an illustration of how the loss of youthful bloom may be forgotten in finish of style, breadth and beauty of phrasing, and the mingled dignity and fire of dramatic sentiment which shine through every note of the singer. Mademoiselle Titiens's voice is one of great range and power, which, with distinct resonance, possesses the flute-like quality so delightful to the ear. If at times a note shows a little wear of the organ, it is so instantly covered up by the graces of the general execution as to be hardly observable except by the ear alive to the slightest defects. But it is not in the voice, fine as it is, that the admirer of the vocal art finds principal cause for delight. It is the intelligence behind the voice and the superb method of vocalization. It has been the current complaint that the grand old school of singing, which graduated so many of the world's greatest singers, has gone out. Whether this be a just accusation or not, it cannot be said that it is literally true as long as Mademoiselle Titiens remains on the stage, which is likely to be for many years to come, if we may judge from the wealth of resource this lady evidently possesses. Too many singers believe that the only requisites for a successful art-career are flexibility and sweetness of voice and musicogymnastic execution. The breadth, dignity, and largeness of Mademoiselle Titiens's style, the fire and feeling with which she imbues every thing she does, the purpose which informs her singing, tell a different story, and Dit is this lesson which gives special value to her visit to America.

Mademoiselle Titiens sang three times (exclusive of her recalls) at her first concert,

THE

From Abroad.

OUR PARIS LETTER.

The beautiful air of Haydn was deliciously given, every shade of meaning and every phrase of the music having been treated with a perfection of detail to which we are not accustomed. The number of the programme which took the audience by storm, however, was the Arditi "Grande Valse."

This is a favorite show-piece of great singers, and there are few concert-goers who do not know it thoroughly well. Nilsson, Carlotta Patti, Kellogg, and others, have given it frequently. Mademoiselle Titiens supplied to it just the lacking elements which we have missed before. Without breathing one word of reproach against the execution of other artists, we cannot refrain from saying that Titiens sang it with a fire, dash, and magnetism, which fairly transfigured its meaning. The mere execution we have heard equaled; the thrill and life with which she seemed to make every note take what was almost palpable form, was something new to most of her bearers. The declamation was so distinct that every word could be heard, and the phrasing so perfect that the music assumed a new aspect. This was the cheval de bataille of the evening, and the enthusiasm of the

audience rose to fever-heat.

Mademoiselle Titiens has fully sustained the great reputation she brings over, and we no longer wonder that our English cousins are not willing to let her go away from London except for a short time. We anticipate, however, a better exhibition of her power when we hear her in oratorio and opera.

The other principal feature of the concert in the way of novelty was the piano- forte playing of Miss Arabella Goddard. We cannot say for her what we have so gladly said for Mademoiselle Titiens. So far as a single hearing can justify judgment, her playing hardly warrants any great enthusiasm. Smooth, graceful, and a very good mistress of technique, we utterly failed to detect in her any of the higher powers of the virtuoso, such alone as can justify a piano-forte player in entering the concert-field. Miss Goddard bas

September 21, 1875. HE dramatic season has now fairly opened, and first representations are the order of the day. Now, it must be known that a first representation is the "fashionablest thing in all Paris." People put down their names months beforehand for tickets, and it is almost impossible for the outside public to gain admission. The proscenium-boxes are generally occupied by the most elegant members of the monde and demi-monde, while the parquet and balcony present an equal proportion of critics and cocottes. The crowd is tremendous, the heat intense, and the excitement prodigious. The most celebrated authors of the

cle. The actors, stimulated by the pervading excitement, and by the presence of those whose verdict gives fame or relegates to obscurity, surpass their best efforts of other days.

A

The first representation of the new melodrama of "Les Muscadins" at the Théâtre Historique was an event of peculiar importance in the theatrical world, its author being the well-known novelist and critic, Jules Claretie. The subject of the piece was taken from the author's novel of the same name. few years ago two gentlemen used to haunt the National Library with great persistency, consulting the same books, turning over the same files of newspapers and portfolios of engravings, busied in fact in reconstructing the same period, that of the Directory. One of these was Victorien Sardou, who was preparing his "Merveilleuses," and the other was the author of "Les Muscadins," which he was then writing. The same idea, namely, that of reconstructing the strange, picturesque, amusing epoch of the Directory, with its indelicate yet elegant costumes, and its absurd manners, had struck both authors at the same time, and they had both gone to work, each striving to come first before the public. "Here comes the Directory," the officials at the library used to say when they saw them enter. In the midst of their painstaking search after authorities in dress, manners, amusements, etc., they were both forestalled by an unexpected competitor. Without flourish of trumpet or beat of drum, there was produced at the Folies Dramatiques a little opéra bouffe, on which neither actors nor managers founded much hope, which was destined to carry the dress and manners of the Directory to the four quarters of the globe. This was the "Fille de Madame Angot," and, when "Les Merveilleuses " was produced at Les Variétés, the public had already grown weary of Incroyables and Merveilleuses, short-waisted and scanty draperies, striped satin coats and tight pantaloons, club-sticks and speckled stockings, and were tired of hearing about Banas and the plots and counterplots of the times. Sardou's uncommonly nasty play, therefore, met with a most richly-deserved failure. The drama of M. Jules Claretie is a fresh attempt to place the epoch of the Directory upon the stage. It is well written, the style being clear and vigorous, but the plot is involved, and in some parts but ill worked out. It is too complicated for detailed description:

suffice it to say that the action turns on a royalist plot in which M. Lafresnaie, the secretary of the chief of police under Banas, takes part, while his son André, an ardent young republican, bends all his energies to the task of frustrating the conspiracy without betraying his father. This M. Lafresnaie has wedded en secondes noces a young and beautiful woman, Jeanne Lafresnaie. The chief of the conspirators, one Count de Faviolles, a disguised royalist, has become the lover of Jeanne, but seeks to marry Mademoiselle de Kermadio, a young Breton heiress, for the sake of her wealth. On discovering the perfidy of her lover, Jeanne vows to be revenged upon him, and to save her husband. She therefore grants Faviolles a last interview, in which she succeeds in forcing from him the paper that forms the only evidence of her husband's connection with the conspiracy, but in the struggle he stabs her, and she dies the moment that the police rush in to arrest the conspirator. Mademoiselle Rousseil was magnificent as Jeanne. Her gesture when, after denouncing the cowering wretch before her, she cries, with uplifted arms, 66 Thou shalt die, not by the bullet, but by the red machine (la machine rouge)!" was intensely thrilling. Montal, late of the Ambigu, played André Lafresnaie admirably, and the rest of the cast was good. The scenery was very fine, particularly that of the Garden of the Tuileries, and of the lonely, dim-lighted Rue de Nevers, which, changes to the moonlit Gardens of the Luxembourg. As for the Muscadins, who give their name to the play, they only appear twice, once when they assail a street-singer for ridiculing them in a ballad, and in the scene in the Tuileries Garden, where, after a very charming and characteristic dance, the "Folies du Jour," the scented dandies are seized upon by the recruiting sergeant to be sent off to join the armies on the frontier. The dresses are very pretty and very extravagant. The text bristles with patriotic allusions, which draw down thunders of applause. Taken altogether, "Les Muscadins" achieved a deserved success, and, with a little pruning, will probably run throughout the winter.

The revival of Sedaine's "Philosophe sans le savoir," at the Comédie Française, was peculiarly interesting for two reasons, one of which was that the charming Blanche Baretta was to personate Victorine, and the other that the piece was to be produced for the first time exactly as Sedaine originally wrote it. When it was first brought out in 1765, the edict against dueling was in full force, and the censure would not permit the author to bring upon the stage a father consenting that his son should fight a duel. The whole of one scene, therefore, had to be rewritten, and the general tone of the entire piece had to be changed, much against the will of the unhappy dramatist. The reluctance with which he executed these changes was well known; 80, when M. Perrin proposed to revise the piece, he caused search to be made among the archives of the theatre, and finally succeeded in unearthing the original manuscript, scored with faint lines by the author's unwilling hand. From this it was easy to establish the original text, and the play, exactly as Sedaine wrote it, was produced last week at the Théâtre Français. Notwithstanding the heat, the house was crowded. Pretty, naïve, and winning Blanche Baretta, the sweetest ingénue now on the Parisian boards, carried off the honors of the evening. When Victorine silences her father by throwing herself into his arms and stopping his mouth with kisses, her grace and childlike sweetness were inimitable.

She also produced a great effect in the fifth act by the cry where with she greeted the news of the death of the younger Vanderk. But, taken altogether, the "Philosophe sans le savoir" is but a mediocre production, which fails to interest, and which never would have been revived on the boards of La Comédie had it not been one of those tiresome things that have" become classic." These classic works, whether play, poem, or novel, often remind me of an incident that occurred at a dinner-party whereat I was present a few years ago. Several of the guests were talking about wines, and the comparative ages of their various possessions in that line, as well as the effect of time upon them. One gentleman had some port that was thirty years old, another some Madeira that was even older, and so on. At last one of the gentlemen remarked: "Well, I have some hock in my cellar which I bought twenty years ago. It was a very bad wine when I first got it, and I do not think it is any better now." And there are various classic productions that strongly remind me of my friend's wine.

Baudry, the painter of the pictures adorning the foyer of the Grand Opéra, is said to be very anxious about the preservation of those works, which cost him so much time and trouble. He was lately in conversation with the chief of the firemen attached to the establishment, and called his attention to these pictures, recommending him to take them under his special charge.

tlemen gummies! Nor has any reason for this ridiculous cognomen ever been assigned.

oars.

There is absolutely no literary news this week whatever. All the publishers are out of town, and the authors are resting on their The "Mariages de Londres," by Sandrié, which I mentioned in my last, has called forth much favorable notice from the critics. It is a series of tales, written evidently by a Frenchman who has long resided in London, and remarkable for accuracy of description and delicacy of detail. The titles of one hundred and twenty-seven almanacs for the ensuing year have already been registered. Last year they numbered two hundred and five.

Mademoiselle Schneider's lawsuit with M. Bertrand, the manager of the Variétés, has been decided in the lady's favor. She gets only five thousand francs damages, howerer, instead of the fifty thousand which she claimed; so that unfurnished third floor in her new hotel will have to remain unfuruished for some time longer.

A singular relic has just been presented to the museum of the city of Périgueux in the shape of a piece of one of the gowns of Madame de Sévigné. The material is a rich cloth of gold brocaded with a pattern of silk and velvet in red and blue. The design is elegant and graceful, and the stuff must have been superb. It proves that the great letterwriter knew how to adorn her charming person as well as to display the gifts and graces of her mind in those inimitable and unrivaled epistles that have given her immortality.

Such was the light in which this prominent official regarded the art-treasures that he was to guard!

Another of the decorators of the operahouse, M. Pils, is dead. He it was that executed the fine and varied frescoes that adorn the staircase. That was his last work, and, during the last days that he was occupied on it, he was already suffering from the malady to which he soon afterward succumbed. He was obliged, in fact, to be lifted on the scaffolding in order to complete his task. He was a battle-painter of considerable eminence, his efforts in that line having won comniendation from that greatest of war-artists, Horace Vernet. His best-known work was his picture of "Rouget de l'Isle singing the 'Marseillaise' for the First Time."

The production of "Les Muscadins" has called forth a list of the names given to young men of fashion at different epochs in France. It appears that under Henri III. they were called Mignons (evidently the origin of the term "curled darlings "), and Muguets under Henri IV. and Louis XIII. They became Roués under the Regency, from the companions of the Regent Philippe and his well-known speech that they all deserved to be roué, or broken on the wheel. Under Louis XVI. they became Freluquets, Muscadins (or musk-perfumed ones) under the Terror, and Incroyables

election. And, propos of political discussions, violent but unavailing efforts have recently been made to force the Orleans princes to publicly declare their political convictions Success failing, La France publishes a letter from the Count de Paris, written four years ago, wherein he says:

"These pompous declarations of opinion, which are or which seem to be always dictated by personal interest, may be good methods for the Bonapartes, but not for persons who wish to be respected.

"Our offers of service addressed to the Government of the National Defense have been, it seems to me, our best recognition of the republic, for, once in her service, it may well be believed that we should have served her loyally.

"What more could we do? Recognize the republic? But foreign powers alone have a right to recognize a government. We, humble citizens, have only to submit and to serve."

Very good, prince. But what about the affiliation with the Count de Chambord? And what if he were to die? The heir to the throne of France in the legitimate line would, in that case, methinks, be hardly a better republican than were the Bonapartes. LUOY H. HOOPEE.

THE ALLAN FLOATING CABIN.

WHE

With the manner in which the inventor proposed to accomplish this desired result our readers are already familiar, illustrated descriptions of the Bessemer cabin having apIpeared in the JOURNAL for May 23, 1874, and March 13, 1875.

At a more recent date it was our unwelcome duty to announce that the Bessemer cabin had proved a failure, and that the disheartened shareholders had advertised this marine elephant for sale to the highest bidder. If, in the unfortunate termination of his first venture, Mr. Bessemer deserves our commiseration, he should also be commended for offering the first practical suggestions as to the proper principle on which the cabin should be constructed-that is, it should be free to oscillate independently of the vessel, so that, whatever be the position of the deck of the latter, the floor of the former shall always remain stationary or level. Mr. Bessemer, it will be remembered, proposed to secure this result by the aid of hydraulic plungers, which, rising from be

neath against the floor of the swinging cabin, should cause it to rise or fall sufficiently to overcome the wave-action from without. It was in the use of these plungers that the inventor failed, since it was soon discovered that the engineer having them in charge could not, however good a seaman he might be, anticipate the action of the waves in time to forestall it. Even before the trial-trip of the Bessemer had demonstrated this weak point in the construction of its swinging cabin, the probability of failure had already suggested to other inventors the need of some automatic device by which the cabin should be kept, or rather keep itself, level. It is to one of these new plans-the Allan floating cabin-that attention is now directed; and, since the report now before us is from a trustworthy source, we are the more willing to commend this device as being not only sound in principle, but successful in practice. In order the better to comprehend the principle which is at the foundation of this new cabin, the reader need only to partially fill a

tumbler with water, and then tip it quickly from side to side. It will then be observed that, whatever be the inclination of the glass, the fluid contained in it will present a level surface. Now, if a thin section of cork or other light wood be placed in the water, and the rocking action be repeated, it will be observed that the float, being sustained by the water, will preserve the same level surface as that of the fluid upon which it rests. We will now advance a step farther. In place of the deep tumbler substitute a hemispherical finger-glass, and for the cork another glass, metallic or wooden hemisphere, having a diameter only slightly less than that of the other. Let the former glass be now only partially filled with water, into which the second vessel may be immersed till the water surrounds it, rising nearly to the top. By this means the interior vessel rests on a thin cushion of water. Now we will begin the rocking movement again, and the result is as might be anticipated. The water having a tendency to retain its horizontal position,

and the floating cabin therefore also remains level, being kept by an arrangement of a pillar and universal joint from being projected against the sides of the dock. The entrance to the cabin is by means of a circular staircase leading from the upper deck to the centre of the floor of the cabin, to which it is fixed. It is evident that there is practically no limit to the number of things which may be kept steady by this system in a passenger-ship, so long as there is room for fitting the hemispherical dock. Thus a single sleeping-berth or a platform, with a table and seats, may be supported in this way.

An additional advantage in favor of this plan is that its practicability may be tested without the construction of a full-sized working model. Indeed, it is claimed that, if it works well in a small model, its success is the more assured, since the larger it is the more natural inertia it will possess, and hence the less tendency will it have to partake of the rolling motion of the vessel.

Arguing thus, the inventor constructed a model, the outer hemisphere of which was but ten inches in diameter, the interior sides being separated from the floating bowl by a film of water but one-eighth of an inch in thickness. An index-arm and a spirit-level were fitted to the hull and cabin, so that the movements of both could be watched and recorded. Awaiting a time when the sea was high and rough, the inventor, model in hand, took passage on a coast-steamer. Once fairly outside, and in the midst of the rough water, the miniature ship was fastened to the deck of the steamer in such a manner that any motion of the one would be communicated to the other. As the steamer was pitched about by the waves the spirit-level attached to the little floating cabin was carefully watched, but no change took place, showing that the floor of the cabin remained stationary. The model was then transferred to a small boat, with like favorable results, for, though the boat was tossed about by the waves, the level of the cabin was maintained so perfectly that a cupful of water placed on it did not lose a drop.

In view of these tests it is not surprising that the inventor should be encouraged, and it is to be hoped that, in spite of recent failures, sufficient capital may be advanced to secure the construction of a full-sized Channel-steamer, the main feature of which shall be its Allan floating cabin.

transfers this tendency to the upper vessel supported by it. Calling our finger-glass the hull of the steamer, and the interior vessel the cabin, we have in a crude form the Allan floating cabin. How the inventor has made a practical application of this idea may be the better understood by reference to the accompanying illustration, in which a longitudinal section of the hull is given, with a parAr a recent meeting of the New York Sotially sectional yiew of the proposed cabin. ciety of Practical Engineers, President James A. Whitney delivered an address on The This plan, as described, consists of a hemiRelation of the Patent Laws to American Agspherical dock fitted in the ship, and contain-riculture, Arts, and Industries." Passing ing water, in which floats another hemispherical vessel of such a diameter as only to leave a space of some three or four inches between it and the outer vessel or dock. This inner vessel is weighted down to its required waterline by means of ballast, sufficient allowance being made for the extra weight of the passengers whom it is to carry. As the ship pitches and rolls, the water between the floating cabin and the dock always maintains its horizontal level, for there is not surface enough for it to set up an independent roll,

over those portions of this address which present in a concise and forcible manner the several arguments and authorities in favor of these laws, we would direct especial attention to the following interesting historical and statistical information regarding several important American inventions. Beginning with the printing-press, we learn that the one used

by Franklin over one hundred years ago gave.

but one hundred and thirty impressions an hour: as the result of successive patented improvements, this capacity was so advanced that in the year 1847 a machine had been per