fever are often accompanied with more or less jaundice, and hence the disease has received the name of bilious remittent fever. It is also known as jungle fever, lake fever (from its prevalence on the border of the great American lakes); and the African, Bengal, Levant, Walcheren, and other similar local fevers, are merely synonyms of this disease. In England, the disease is very rare; and when it occurs, it is usually mild. The disease is most severe in Southern Asia, Western Africa, Central America, and the West India Islands.

The first object of treatment is to reduce the circulation during the hot stage. This is done by bleeding, followed by a dose of five grains each of calomel and James's powder, and, after an interval of three or four hours, by a sharp cathartic-as, for instance, the ordinary black draught. On the morning of the following day, the remission will probably be more complete, when quinine, either alone or in combination with the purgative mixture, should be freely and repeatedly administered. A mixture of antimonial wine with acetate of potash should also be given every two or three hours, so as to soften the skin, and increase the action of the kidneys. Sir Ranald Martin-our highest authority in relation to tropical diseases-has directed attention to the fact, that the patient must be carefully watched during the period of convalescence. A timely removal from all malarious influence, by a change of climate or a sea-voyage, is of the highest importance, and is more likely than any other means to prevent fatal relapses into other forms of fever, or into dysentery, which so frequently occur to our troops at stations where miasmatic influences are rife. Although the above sketch of treatment is applicable in most cases, there are some forms of this fever in which blood-letting cannot be borne; and almost every epidemic fever of this kind requires special modifications of treatment. The following data, extracted from a table drawn up by Sir Alexander Tulloch, will give some idea of the frequency of this disease and the variations in intensity:

REMO'NSTRANTS. See ARMINIUS. RE'MORA, or SUCKING-FISH (Echeneis), a genus of fishes which Cuvier placed among the Discoboli (q. v.), but which Müller assigns to the order Anacanths, and regards as constituting an entire family, Echeneida. Their chief relation to the Discoboli, indeed, is in the possession of a sucker, by which to affix themselves to objects of various kinds; but the sucker itself is very different. The remoras have an elongated body, covered with very small scales; one soft-rayed dorsal fin, situated above the anal fin; the head flattened, and covered with an elongated disc extending back beyond it, which is the sucker; the mouth large, with numerous small recurved teeth on both jaws, the vomer, and the tongue. The sucker-disc exhibits numerous transverse cartilaginous laminæ directed backwards, and has a free flexible broad margin. These lamina are formed by modification of the spinous processes of a first dorsal fin. They are moved simultaneously by sets of muscles raising or depressing them, and when they are raised after the margin of the disc has been

closely applied to a smooth surface, a vacuum i created; and so powerful is this apparatus, that great weights may be dragged by a R.; whilst i obstinately refuses to let go its hold, and will ever submit to be torn in pieces before it does so. The Common R. of the Mediterranean, and of the ancients, is a small fish, seldom more than eight inches long, of a dusky-brown colour. It is found in the Atlantic, and occasionally as far north as the British coast. It is frequently seen among the other fishes following ships, and often attaches itself by its sucker to some other fish, even of a kind that would make haste to devour it if it could be reached- -an instance of which once occurred on the British coast, a R. being taken affixed to a cod often also to the rudder or bottom of a ship. The ancients imagined that it had power to impede or arrest the course of a ship, a fable which continued to be credited till recent times. Thus, it was alleged, was Antony's ship detained from getting soon enough into action in the memorable and decisive battle of Actium. Of what use its power of adhesion is to the R., is matter of mere conjecture. The R. is very palatable. There are about ten known species, some of the tropical ones much larger than the Common Remora. One of them is said, on the authority of Commerson, to be used on the coasts of Mozambique for the curious purpose of catching turtles. A ring is fixed round its tail, with a long cord, and the fish, placed in a vessel of sea-water, is carried out in a boat; the fishermen row gently towards a sleeping turtle, and throw the R. towards it, which seldom fails immediately to affix itself, when the cord is drawn in, and the turtle becomes an easy prey.

kind of salad-dressing, consisting of the yolks of REMOULADE, a term in Cookery for a fine two eggs, boiled hard; flour of mustard, about a teaspoonful, rubbed up with three or four tablespoonfuls of oil; when they are thoroughly incorporated, add two tablespoonfuls of vinegar and a little pepper, and other flavouring materials according to taste. It is much used in making the salad called Mayonnaise.

REMOVAL OF GOODS by a tenant of a house to prevent the landlord distraining or seizing them in payment of rent, is attended with this consequence if the rent is already due, and not merely current rent, then, if a tenant fraudulently or clandestinely remove the goods from the premises, the landlord may, within 30 days thereafter, take and seize these goods wherever they are found, and sell them, by way of payment of his rent. If the tenant remove the goods the day before the rent becomes due, the landlord cannot so follow the goods. Whoever assists the tenant to remove his goods fraudu lently, forfeits to the landlord double the value of the goods removed.

REMOVAL OF PAUPERS, in the law of England, is the technical term applied to the compulsory removal of paupers from a parish in which they have become destitute, to the parish of their settlement, and which, therefore, is bound to maintain them. The right of parochial officers to remove paupers in such circumstances has long been considered as one of doubtful wisdom, and the propriety of continuing it has latterly been much discussed. As the law stands, wherever a person becomes destitute in a parish in which he was not born, or in which he has not acquired a Settlement (q. v.), as it is called, the overseers may apply to a justice of the peace at once to remove him to his own parish. In such a case, notice must be given by the removing parish to the parish of settlement, so that the latter may oppose the proceeding;

proposed to make known. Religious beliefs, philosophical systems, natural history, geography, political revolutions, the origins of races, biography, literature, manners, habits, and customs-he has treated all in an equally masterly style.' Among the works of R. which illustrate this éloge of M. Walckenaer are his Etude Historique sur la Médecine des Chinois; Tableau Complet des Connaissances des Chinois en Histoire Naturelle (unfinished); Sur la Pierre Iu (a curiously learned disquisition on a crowd of historical questions and religious rites); Notice sur la Chine et ses Habitants (in which the author treats of the extent, administration, manners, commerce, &c., of China); Sur l'Extension de Empire Chinois en Occident depuis le Premier Siècle avant Jésus-Christ jusqu'à nos Jours, a work that has thrown much light on the interesting question: Who were the barbarians that overthrew the Roman empire? R., in particular, paid great attention to the religions of China, except, strange to say, that of Confucius. He was the first to make known in Europe the life and opinions of the philosopher Laou-Tsze, head of the religious sect Taou-tsé, and wrote numerous works, more or less valuable, on the history of Buddhism. A list of his various works is given in the article Remusat,' in the Nouvelle Biographie Générale, to which we are chiefly indebted for our information. In 1818, R. became one of the editors of the Journal des Savants; in 1822 he founded the Société Asiatique of Paris, of which he was perpetual secretary; in the following year, he was chosen a member of the Asiatic Societies of London and of Calcutta ; and in 1824, he was appointed curator of the Oriental Department in the Bibliothèque Royale. He died of cholera at Paris, 4th June 1832, at the early age of 44.

REMY, or REMI, ST (Lat. Remigius), a saint of the Roman Catholic Church, was born of a noble family of Laon, in Picardy, in the year 438 or 439. He was appointed, against his will, at the early age of 22, to the bishopric of Rheims, and his episcopate is memorable for the conversion of Clovis, who was baptised by Remy. It was on occasion of this ceremony that, contrasting our Lord and his cross with the idols whom Clovis had hitherto adored, R. used the words which afterwards became almost epigrammatic: Adore henceforward what thou hast hitherto burned, and burn that which thou hast adored.' R. lived to see Gaul almost entirely Christianised, and died in his 93d or 94th year in 533. Some of his letters are preserved in the Bibliotheca Patrum, as also two documents under the title of Testamenta, the genuineness of which has been the subject of a curious controversy.

RENAISSANCE, the name given to the style of art, especially architecture, in Europe, which succeeded the Gothic, and preceded the rigid copyism of the classic revival in the first half of the present century. Under the heading ITALIAN ARCHITECTURE we have traced the rise and progress of the Renaissance in the country of its birth. The spread of classical literature during the 15th and 16th centuries created a taste for classic architecture in every country in Europe. France, from her proximity and constant intercourse with Italy, was the first to introduce the new style north of the Alps. Francis I. invited Italian artists to his court during the first half of the 16th century. The most distinguished of these were Leonardo da Vinci, Benvenuto Cellini, Primaticcio, and Serlio. These artists introduced Italian details, and native architects applied them to the old forms to which they were accustomed, and which suited the purposes of their

buildings, and thus originated a style similar to, though diverse from, that of Italy.

The Italian buildings were chiefly churches, St Peter's being the great model. In France (as in the other countries north of the Alps), the stock of churches was more than was required. The grand domestic buildings of Florence and Rome were actually needed for defence, and were founded in design on the old medieval castles, which the nobles occupied within the cities. The domestic architecture of France is rather taken from the luxurious residences of the monks, and although very graceful in outline and in detail, its buildings want the force and grandeur of the Italian palaces. In the French Renaissance, so much are the old Gothic forms and outline preserved, that the buildings of Francis I. might, at a short distance, be mistaken for Gothic designs, although, on nearer approach, all the details are found to be imitated from the classic. Such are the palaces of Chambord

Fig. 1.-Château of Chambord.

and Chenonceaux on the Loire, Fontainebleau, and many others. The churches of this period are the same in their principles of design. Gothic forms and construction are everywhere preserved, while the detail is as near classic as the designers could make it. St Eustache, in Paris, is one of the finest examples of this transitional style.

From the middle of the 16th to the middle of the 17th c., a style prevailed which may be said to have combined all the defects of the Renaissance. It was neither classic nor Gothic. It had no principles of construction or decoration save the individual caprice of the designer. This style, usually known as that of the time of Henry IV., is the basest which has been adopted in France, and has no redeeming qualities. It may be distinguished by the constant use of meaningless pilasters, broken entablatures, curved, and contorted cornices, architraves, &c., all applied so as to conceal rather than to mark and

dignify the real uses of the features of the buildings. The palace of the Tuileries shews well all the above defects. From this debased and meaningless

Fig. 2.-Central Pavilion of the Tuileries, As designed by De Lorme (from Mariette). style, architecture gradually recovered, and during the 18th c., a style more becoming the dignity and importance of the Grand Monarque was introduced. The classic element now began to prevail, to the entire exclusion of all trace of the old Gothic forms. Many very large palaces are built in this style; but, although grand from their size, and striking from their richness and luxuriance, they are frequently tame and uninteresting as works of art. The palace of Versailles (q. v.) is the most prominent example. The two Mansards, one of whom designed Versailles, had great opportunities during this extravagant epoch. Their invention of giving a row of separate houses the appearance of one palace, which has ever since saved architects a world of trouble, was one of the most fatal blows which true street-architecture could have received. The east front of the Louvre, designed by Perrault, is one of the best examples of the style of the age. Many elegant private hôtels and houses in Paris were erected at this period. The most striking peculiarity of the style of Louis XIV. is the ornament then used, called Rococo (q. v.).

The classic Renaissance was completed in the beginning of the present century by the literal copyism of ancient buildings. Hitherto, architects had attempted to apply classic architecture to the requirements of modern times; now they tried to make modern wants conform to ancient architecture.

In the Madeleine, for instance, a pure peripteral temple is taken as the object to be reproduced, and the architect has then to see how he can arrange a Christian church inside it! Many buildings erected during the time of the Empire are no doubt very impressive, with noble porticoes and broad blank walls; but they are in many respects mere shams; attempts to make the religious buildings of the Greeks and Romans serve for the conveniences and requirements of the 19th century. This has been found an impossibility-people have rebelled against houses where the window-light had to be sacrificed to the reproduction of an ancient portico, and in which the height of the stories, the arrangement of the doors, windows, and, in fact, all the features were cramped, and many destroyed. The result has been that this cold and servile copyism is now entirely abandoned, and the French are working out a free kind of Renaissance of their own, which promises well for the future; and is, at the present moment, as the streets of Paris testify, the liveliest and most appropriate style in use for modern streetarchitecture.

In Spain, the Renaissance style took early root, and from the richness of that country at the time, many fine buildings were erected; but it soon yielded to the cold and heavy Greco-Romano' style, and that was followed by extravagances of style and ornament more absurd than any of the reign of Louis XIV. The later Renaissance of Spain was much influenced by the remnants of Saracenic art which everywhere abound in that country.

In England, as in the other countries of Europe, classic art accompanied the classic literature of the period; but, being at a distance from the fountainhead, it was long before the native Gothic style gave place to the classic Renaissance. It was more than a century after the foundation of St Peter's that Henry VIII. brought over two foreign artists -John of Padua and Havenius of Cleves-to introduce the new style. Of their works, we have many early examples at Cambridge and Oxford, in the latter half of the 16th century.

Longleat, Holmby, Wallaton, and many other county mansions, built towards the end of the 16th c., are fine examples of how the new style was gradually introduced.

The course of the Renaissance in England was similar to its progress in France; it was even slower. Little classical feeling prevailed till about 1620. The general expression of all the buildings before that date is almost entirely Gothic, although an attempt is made to introduce classical details. The pointed gables, mullioned windows, oriels and dormers, and the picturesque outlines of the old style, are all retained long after the introduction of quasi-classic profiles to the mouldings. This style, which prevailed during the latter half of the 16th c., is called Elizabethan, and corresponds to the somewhat earlier style in France of the time of Francis I. This was followed in the reign of James I. by a similar but more extravagant style called Jacobean, of which Heriot's Hospital is a good example; the fantastic ornaments, broken entablatures, &c., over the windows, being characteristic of this style, as they were of that of Henry IV. in France.

The first architect who introduced real Italian feeling into the Renaissance of England was Inigo Jones. After studying abroad, he was appointed superintendent of royal buildings under James I., for whom he designed a magnificent palace at Whitehall. Of this, only one small portion was executed (1619-1621), and still exists under the name of the Banqueting House, and is a good example of the Italian style. Jones also erected several elegant

mansions in this style, which then became more generally adopted.

In the latter half of the 17th c., a splendid opportunity occurred for the adoption of the Renaissance style after the great fire of London. Sir Christopher Wren rebuilt an immense number of churches in that style, of which St Paul's (q. v.) was the most important. The spire of Bow Church and the interior of St Stephen's, Wallbrook, are also much admired.

During the 18th c., classic feeling predominated, and gradually extended to all classes of buildings. In the early part of the century, Vanbrugh built the grand but ponderous palaces of Blenheim and

Fig. 3.-Park Front of Castle Howard.

Castle Howard, which have a character and originality of their own. To these succeeded a vast number of noblemen's mansions, designed by Campbell, Kent, the Adamses, and others.

Many of these, like the contemporaneous buildings of France, are of great size and magnificence; but they are usually tame and cold in design, and a sameness pervades them all. They generally consist of a rustic basement-story, with a portico over the centre, and an equal number of windows on either side. The portico is considered essential, and although perfectly useless, the light and convenience of the house are invariably sacrificed for it.

The further study of the buildings of Greece and

Fig. 4.-Part of Park Front of Bridgewater House.

Rome led, in the beginning of the present century, to the fashion of reproducing them more literally. All

important public buildings were now required to be absolute copies of ancient buildings, or parts of them, or to look like such, and then the architect had to work out the accommodation as best he might. St Pancras' Church in London is a good example. It is made up of portions from nearly every temple in Greece! Many really successful buildings, such as St George's Hall, Liverpool, the High School and Royal Institution in Edinburgh, have been erected in this style; but they owe their effect not to their being designs well adapted to their requirements, but to the fact, that they are copies from the finest buildings of antiquity.

Sir Charles Barry was the first to break away from this thraldom, and to return to the true system of designing buildings-those, namely, which have their general features arranged so as not only to express the purposes they are intended to serve, but in so doing to form the decorative as well as the useful features of the buildings. The Travellers' Club-house and Bridgewater House in London are admirable specimens of his design. There are no superfluous porticoes or obstructive pediments, but a pleasing and reasonable design is produced by simply grouping the windows, and crowning the building UE with an appropriate cornice.

As already noticed, a similar style of domestic architecture is now being worked out in France; but both there and in this country there has been a reaction against everything classic, and a revival of medieval architecture has superseded that of classic. especially in ecclesiastical buildings. A very large number of churches has been erected within the last 20 years in the Gothic style, but it cannot be said that these are usually well adapted to the modern Protestant service. The most magnificent example of this style is the Palace or Houses of Parliament at Westminster.

In Germany, Russia, and every country of Europe, the Renaissance prevailed in a manner similar to that above described. In Germany, there are few specimens of early Renaissance, the picturesque castle of Heidelberg being almost unique as an early example. The Zwirner and Japanese palaces at Dresden, which are nearly alone as edifices of the beginning of the 18th c., shew how poor the architecture of Germany then was. In the domestic buildings of Nuremberg, Dresden, and other towns of the north of Germany, there are many instances of the picturesque application of classic detail to the old Gothic outlines.

One of the most striking examples of the revival of classic art occurred in Bavaria during the first half of the present century, under the auspices of King Louis. He caused all the buildings he had seen and admired in his travels to be reproduced in Bavaria. Thus, the royal palace is the Pitti Palace of Florence on a small scale; St Mark's at Venice is imitated in the Byzantine Chapel-royal; and the Walhalla, on the banks of the Danube, is an exact copy (externally) of the Parthenon. The finest buildings of Munich are the Picture-gallery and Sculpture-gallery by Klenze, both well adapted to their purpose, and good adaptations of Italian and Grecian architecture.

In Vienna and Berlin, there are many examples of the revived Classic and Gothic styles, but the Germans have always understood the former better than the latter. The museums at Berlin, and many of the theatres of Germany, are good examples of