sington, or from some interior cause, certain it is that the English are making rapid and splendid progress in the arts which apply to decoration. From season to season, the stained glass and silk and worsted fabrics from the establishments of Morris and Cottier, in London, show improvement in design, and more and more subtile and beautiful color. At Cottier's, in Fifth Avenue, are charming curtain-materials, that have been composed and made up ready for use. In one of these articles, which is russet-brown and gold of closely-woven silk, with worsted figures, the "botanical analysis," as it is termed, has been brought into play, in the most successful manner, to construct the trunk, branches, and leaves of a large tree. This tree is not imitated closely from Nature, but follows her large and significant shapes. The manner in which the leaves are arranged in Nature on the branches is here reproduced; the general direction and growth of the branches are shown, and the nature of the bark is handled with a bold, free, and knowing touch, worthy of Japanese decoration. This piece of heavy material forms the central portion of the curtain, soft and rich in hue. At either end of this portion, which much resembles old tapestry, and at the same time savors strongly of Japan, deep stripes of stamped velvet repeat the colors of scrub-oak leaves in autumn, with their sunny shades of redbrown. Other stripes of yet other glowing and subdued colors lap upon these; the whole curtain, hung on a polished brass rod by brass rings, forming a background that would be fit for the old stained-glass figures of the magi in the cathedral-windows at Strasburg, or beautiful enough to make a portion of one of Alma-Tadema's or Armstrong's paintings.

There are other materials here of big, stately figures of flower or beast, and colored damasks and plush, whose secret of color is known to nobody but the artists who manufacture them, and which, after being used ten or a dozen times, are laid aside, while the designs which they embellish are destroyed, that their rarity, as well as their beauty, may give them value.

The progress of art in stained glass is satisfactorily shown by numbers of water-color paintings that can now be seen at Cottier's, and by photographs of some of the new stained-glass windows that have been made abroad. The beauty of form and the splendor of color in these new windows can be compared by every one with some of the stained glass in Cottier's establishment, which has been pronounced by able judges the best that has been seen in America. But this glass is of last year's manufacture, and beside the paintings of the newest windows it looks awkward and poor; while this again, seen side by side with an earlier article, reduces former work to comparative insignificance. As yet, American architects, from what cause we know not, have used but little of this beautiful glass in the windows of the churches and public buildings they are now erecting, and they seem to prefer a diaper pattern of flaming and positive blues, reds, and yellows, that are coarse and harsh in the glare of our strong sunlight, rather than these

tints that can now be readily obtained, and which have the softness and glory of an American autumn forest.

The style of fabric, too, which the glass imitates so well, of figured brocade or damask, and white satin woven with gold, which is so splendid in the old cathedral - windows of Germany, is very successful in this English glass. When we recall the contrast between the mellow-hued old windows in Cologne Cathedral, charming in their imitations of these materials we have described, and then recollect the ugliness of the new windows from Munich, which have been placed opposite them in the church, we are filled with regret that such a costly and spacious window as fills an end of Memorial Hall in Cambridge does not afford the visitor the opportunity to compare its tawdry ugliness by beautiful neighbors about it. Memorial windows are to be put all about this great Cambridge dining-hall, and we trust that some of them may be of this new English glass. Windows of this character would be a treasure to look at, and we hope the time is not distant when every parish will prefer one figure of a saint by Morris or Cottier to a dozen stories from Scripture done in a style which must soon come to an end.

JAMES M. HART, who passed the summer in the Adirondack region, in the valley of the Boquet, near Elizabethtown, has already begun his season's work in earnest, and its first fruit is a large painting of cattle in a pasturefield. The scene was drawn upon a hill-side overlooking the Boquet River Valley. There is a group of cows reposing by the side of a great gray bowlder, which crops out of the rugged hill-side in the foreground, and two or three sheep are nipping the scanty herbage near them. In front of this group of cows there is a shallow pool of water, which has assumed a deep - blue tone under the effect of the humid atmosphere. Leading off into the perspective are other groups of cattle, placed here and there in the landscape, to the distant point of sight where the receding hill side merges into the obscurity of the valley. On the right hand, the forest crowns the hills, and, looking across the Boquet Valley, there are scattered clearings to the Adirondack Mountain ranges, which fill the background.

group are also a striking feature. The sheep are introduced simply as accessories, but the same care in their treatment is as apparent as in the cows. The river is portrayed under the effect of a clouded sky, and the landscape is in partial shadow, with the strongest light concentrated on the great gray rock and foreground cattle. The effect of this subdued light, which is diffused in subtile grada. tions over the surrounding herbage, forms a delightful study in contrast to the semi-transparent shadows which pervade the distant valley and hills.

ALFRED T. BRICHER has recently finished an upright picture, of medium size, giving a view of the famous "Bishops' Rock, Island of Grand Manan." It is an early moonrise, with the form of the great cliff strongly drawn against the evening sky, and the bright rays of the great harvest - moon sending a flood of golden light on the rolling surf which breaks at the so-called " Bishops'" base. The cliffs at their summit are yet lighted up by the afterglow of the setting sun, and fairly sparkle in the dual effect as rendered, The sky is tenderly clouded, and each scattered form under the effect of the moon's rays catches the light and adds a new element to the general glow. There is a fleet of fishing-schooners at the horizon-line, but they are kept subservient and do not disturb the impressive character of the scene. The pict ure is rich in color and painted with remark. able breadth and strength. In its general treatment it is unlike any thing that we have heretofore seen from Mr. Bricher's easel, and, as a study of the rugged scenery of Grand Manan Island, we believe that it will be ac cepted as his master- work. Mr. Bricher spent part of the past summer at Mount Desert, and has a large collection of water color sketches of the bold and romantic scenery of that rugged island. He paid par ticular attention to the study of the rockformation of the island, all of which will be of value to him in the composition of pictures.

ONE of the most charming pictures of a midsummer landscape sent from an artist's easel this season was exhibited by Mr. R. W. Hubbard at the last meeting of the Century Club. It was studied on the Connecticut shore of Long Island Sound from a somewhat elevated point of view overlooking the water. The foreground is treated in a delightful man. ner, and has some picturesque groups of trees 0 which hold their places in the landscape with a force and effect which are marvelous. The picture is as light and bright in its tone as the sun is at noonday, with the most delicate suggestions of transparent shadows upon surface of the meadows and pasture-fields, caused by the delicate cloud - forms which show upon the heavens. There are a rare del icacy of touch and harmony of color shown in the positive forms of the foreground trees and objects, and this poetic quality is re peated with exquisite artistic skill as the more distant features of the landscape are massed in the perspective. The sky is rehan-markably brilliant in its tender qualities of color, and it possesses a transparency and depth which are delightful to study. The pict

The chief force of this work rests in the group of cows in the near foreground, and in drawing and finish the work is praiseworthy. During the past five years Mr. Hart has made cattle-painting a favorite study, and that he has made it a successful study is evident from the spirited manner in which this subject is treated. There are three cows in the principal group, party-colored, but the tones of red, black, and white, predominate respectively in the animals. The cow in which the red color prevails would be called a red cow the world over, and just so with the others. In the composition of these diverse colored cows in the group, Mr. Hart has secured a harmony of feeling which is very attractive. The coloring is excellent, and this applies also to the foreshortening, the subtile dling of which we have rarely seen equaled. The suggestions of animal anatomy in the

the

ure 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 than ordinary credit for the success of his early autumn work.

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.

ΟΝ

Music.

N 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.

giving the grand scena and prayer from "Der Freischütz;""With Verdure clad," from the "Creation;" and a "Grande Valse," by Arditi. These selections were admirably adapted to set forth her excellences.

The noble aria from Weber's opera was a favorite concert-piece with Parepa-Rosa, and most of us recollect the tenderness and beauty with which she rendered it. Mademoiselle Titiens does not fall short of the lamented singer we have mentioned in the charm with which she gives Weber's glorious music. If we miss the flowing and perfect sweetness of Parepa, the bird-like ease with which she seemed to breathe and not sing the music, the passion and sentiment that throbbed in Titiens's singing made a large compensation. Perhaps her dramatic rendering of the reci tative of the scena, though less interesting to the general audience, gave a higher pleasure to the connoisseur than the aria itself, for it seemed almost a revelation of the possibilities of recitative singing. Of this, however, it is not for us to speak now, as we shall and-by hear the prima donna in opera, where she can show her remarkable powers in this direction more fully.

made an extensive reputation-on what adequate foundation, we fail so far to discover. Before pronouncing a more detailed judg ment, we shall wait further hearing.

From Abroad.

OUR PARIS LETTER.

September 21, 1875.

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 hearers. 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 iu oratorio and opera.

The other principal feature of the concert in the way of novelty was the piano - forte

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 musico-playing of Miss Arabella Goddard. We gymnastic 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 it 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,

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

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.

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. A 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. Lafresnais 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 66 arins, 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; so, 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 wherewith 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.

"Oh, certainly, sir," made answer the chef des pompiers, briskly, "those oil-painted things are uncommon nasty when they are burningthe smoke is enough to choke one. I'll see after them, never fear!"

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 commendation 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

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, however, instead of the fifty thousand which she claimed; so that unfurnished third floor in her new hotel will have to remain unfurnished 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.

It is reported in political circles that the first name placed on the Republican list for election to the Senate is that of Victor Hugo, and that there is no doubt whatever of his election. And, à 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.

LUCY H. HOOPEE.

THE ALLAN FLOATING CABIN.

WHEN

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 appeared 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,

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 partially sectional view of the proposed cabin. This plan, as described, consists of a hemispherical dock fitted in the ship, and containing 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,

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.

Ar a recent meeting of the New York Society of Practical Engineers, President James A. Whitney delivered an address on "The Relation of the Patent Laws to American Agriculture, Arts, and Industries." Passing 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