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THE EXHIBITION OF THE ROYAL ACADEMY.
618 exception of a few horsemen, almost all falling beneath the English fire, the cavalry is not visible, but the spectator less direct connexion with occupies its position and looks straight upon the faces of
turbance, neuralgia, vertigo, convulsions, many cardiac troubles, some pulmonary, and many cutaneous affections
may be traced to some more or processes with which the liver is concerned, and are included among its "functional derangements." The extent to which the arrangement will turn out provisional only is yet uncertain. The tendency ot recent science has been to show that the newly-discovered functions of the liver are shared by many other structures of the body, and it is obvious that much that now seems purely hepatic may turn out ultimately to be only partly, or even not at all, connected with the liver. But as an account, theoretical and practical, of what is now known and thought on the subject, Dr. Murchison’s lectures leave nothing to be desired.
physiological
Introduction toexperimental Physics, Theoretical and Practical;;
including Directions for Constructing Physical Apparatus and for making Experiments By ADOLF F. WEINHOLD. Translated a.nd Edited by BENJAMIN LOEWY, F.R.A.S. Lon-
don : Longmans, Green, and Co. 1875. WE regard this as an excellent work, especially as to its design and method. It seems to us admirably adapted to conduct its readers securely on their way, by making them employ their own senses and intelligence in working out their education for themselves ; and teachers will find it very useful to turn to its pages for suggestions for experiments in demonstrating or illustrating their lessons in physical science. There is nothing so depressing to students as a lecturer with his MSS. in front of him, and the customary chalk and black -board behind him. Where so much ground has to be traversed, it is scarcely to be expected that the subjects will be all equally well or fully treated of; but, taken as a whole, the book is an uncommonly good one-clearly written, admirably illustrated, and so minute in many of its details and descriptions that anyone gifted with ordinary intelligence cannot fail to understand, in other words "to bottom" what he is learning. In many respects, too, the author deals with his subjects in an original way, and always, it seems to us, so as to secure that the laws and principles shall be properly grasped and understood.
THE EXHIBITION OF THE ROYAL ACADEMY. RUMOURS have been freely circulated during the last week two that about 75 per cent. of the works of art offered to the Royal Academy for exhibition had been rejected, and there has been in consequence a good deal of anxious suspense amongst those waiting in doubt, as well as vituperation from the unsuccessful when they learned their failure. Whether the report as to the number be true or not, it is certain that the rooms of the Academy are well filled-,over-filled, indeed,-for many pictures occupy that sky" line which was such an objectionable feature of the exhibitions in Trafalgar-square. Whatever may have been the merit of the rejected, there can be no doubt that the collection which will be opened to the public on Monday is generally of a very high order. It seems to us that there are more numerous examples of good, conscientious work than we have ever seen before on the walls of the Academy, although probably there is no one picture destined to create the exceptional furore which marked the appearance of Miss Thompson’s "Roll-call" la,st year. That lady sends us, however, a picture which is very much in advance of her former work. It represents a square formed by the 28th Regiment and the Royals at the battle of Quatre Bras, and the period chosen is the last of a series of unsuccessful charges made against it by French cavalry. With the or
And wonderful studies these Britons are as they receive the furious charge-the front rank kneeling, rear rank firing. Stern determination in some is contrasted with jeering levity in others, principally younger men, who cannot control their glee at the discomfiture of the enemy, even under circumstances suggestive of anything but laughter; for death is rife on every side in this field of trampled rye in which the battle is being fought. Admirably true is the peculiar shadow-like effect of figures seen through the smoke, whilst the infinite diversity of expression in the soldiers’ faces is in striking contrast to most painted battle scenes, where one or two men seem to have stood as models for a whole regiment. In another room is a picture by a French artist, M. Philippoteau, No. 613, "La. charge des cuirassiers franoMS à Waterloo," which may worthily be compared with Miss Thompson’s. It is an amazingly spirited representation of a battle-field, but errs, we think, in presenting too clear an atmosphere. Millais sends two landscapes, one of which, No. 74, "The fringe of the moor," will probably be thought too purple in colour, quite unjustly; but you need to stand 15 feet from the canvas to obtain the proper effect, and that will be impossible when the room is crowded. It is a noble landscape, full of delightful suggestions of a bright breezy walk over miles of heather. His picture called " No !" a young lady prepared to write a refusal to a letter containing an offer of marriage, is a marvellous effort of pourtrayal of physiognomical expression. You instinctively feel for the poor fellow who is going to be disappointed, and so evidently does the girl, although she has no doubt about the propriety of refusing him. Prinsep has some works of unusual grace and power; he has made a great step in advance this year. There are beautiful things, too, by Tadema, Calderon, Leslie, Brett, Biviere, Earle, and endless other more or less familiar names, which, if we were writing in another journal, we should like to dwell upon. In the present exhibition there is a singular absence of works of art connected in any way with our profession. There is no portrait or bust of any great gun in medicine. A posthumous bust of the late W. A. Miller bears no resemblance to that distinguished chemist. We failed to find the usual number of sick children, which are the delight of many lady visitors. En revanche, however, there is a large picture by Marcus Stone, of much obstetric interest. A French soldier has returned from the wars to his cabin, to find his wife lately laid in with a baby. He embraces her with effusion, whilst his little girl endeavours to draw papa’s attention to the cradle, placed somewhat injudiciously, we think, near the open door of the hut. The picture is beautifully painted, admirable in its sobriety of tone and pose of figures, but the subject is surely unfortunate. It is impossible to get up any excitement of feeling about a soldier who can only have been away for a few months, and then, too, one inevitably begins to wonder what has become of the monthly nurse-an idea fatal to pathetic emotion. Mr. Seymour Haden sends a translation in etching of Turner’s "Calais Pier." This work must not be looked upon in the light of an engraving of a picture. It is something very different from, and far beyond, this. It would be more proper to compare it perhaps to the task which a poet performs who takes a masterpiece of imagination and builds a poem upon it. We do not believe for a moment that such a fine piece of etching as this of Mr. Haden’s has ever been produced before, and we cannot help feeling that the work gives us quite a new idea of the capability of the etching needle for broad and grand effects. our men.
turbance, neuralgia, vertigo, convulsions, many cardiac troubles, some pulmonary, and many cutaneous affections
may be traced to some more or processes with which the liver is concerned, and are included among its "functional derangements." The extent to which the arrangement will turn out provisional only is yet uncertain. The tendency ot recent science has been to show that the newly-discovered functions of the liver are shared by many other structures of the body, and it is obvious that much that now seems purely hepatic may turn out ultimately to be only partly, or even not at all, connected with the liver. But as an account, theoretical and practical, of what is now known and thought on the subject, Dr. Murchison’s lectures leave nothing to be desired.
physiological
Introduction toexperimental Physics, Theoretical and Practical;;
including Directions for Constructing Physical Apparatus and for making Experiments By ADOLF F. WEINHOLD. Translated a.nd Edited by BENJAMIN LOEWY, F.R.A.S. Lon-
don : Longmans, Green, and Co. 1875. WE regard this as an excellent work, especially as to its design and method. It seems to us admirably adapted to conduct its readers securely on their way, by making them employ their own senses and intelligence in working out their education for themselves ; and teachers will find it very useful to turn to its pages for suggestions for experiments in demonstrating or illustrating their lessons in physical science. There is nothing so depressing to students as a lecturer with his MSS. in front of him, and the customary chalk and black -board behind him. Where so much ground has to be traversed, it is scarcely to be expected that the subjects will be all equally well or fully treated of; but, taken as a whole, the book is an uncommonly good one-clearly written, admirably illustrated, and so minute in many of its details and descriptions that anyone gifted with ordinary intelligence cannot fail to understand, in other words "to bottom" what he is learning. In many respects, too, the author deals with his subjects in an original way, and always, it seems to us, so as to secure that the laws and principles shall be properly grasped and understood.
THE EXHIBITION OF THE ROYAL ACADEMY. RUMOURS have been freely circulated during the last week two that about 75 per cent. of the works of art offered to the Royal Academy for exhibition had been rejected, and there has been in consequence a good deal of anxious suspense amongst those waiting in doubt, as well as vituperation from the unsuccessful when they learned their failure. Whether the report as to the number be true or not, it is certain that the rooms of the Academy are well filled-,over-filled, indeed,-for many pictures occupy that sky" line which was such an objectionable feature of the exhibitions in Trafalgar-square. Whatever may have been the merit of the rejected, there can be no doubt that the collection which will be opened to the public on Monday is generally of a very high order. It seems to us that there are more numerous examples of good, conscientious work than we have ever seen before on the walls of the Academy, although probably there is no one picture destined to create the exceptional furore which marked the appearance of Miss Thompson’s "Roll-call" la,st year. That lady sends us, however, a picture which is very much in advance of her former work. It represents a square formed by the 28th Regiment and the Royals at the battle of Quatre Bras, and the period chosen is the last of a series of unsuccessful charges made against it by French cavalry. With the or
And wonderful studies these Britons are as they receive the furious charge-the front rank kneeling, rear rank firing. Stern determination in some is contrasted with jeering levity in others, principally younger men, who cannot control their glee at the discomfiture of the enemy, even under circumstances suggestive of anything but laughter; for death is rife on every side in this field of trampled rye in which the battle is being fought. Admirably true is the peculiar shadow-like effect of figures seen through the smoke, whilst the infinite diversity of expression in the soldiers’ faces is in striking contrast to most painted battle scenes, where one or two men seem to have stood as models for a whole regiment. In another room is a picture by a French artist, M. Philippoteau, No. 613, "La. charge des cuirassiers franoMS à Waterloo," which may worthily be compared with Miss Thompson’s. It is an amazingly spirited representation of a battle-field, but errs, we think, in presenting too clear an atmosphere. Millais sends two landscapes, one of which, No. 74, "The fringe of the moor," will probably be thought too purple in colour, quite unjustly; but you need to stand 15 feet from the canvas to obtain the proper effect, and that will be impossible when the room is crowded. It is a noble landscape, full of delightful suggestions of a bright breezy walk over miles of heather. His picture called " No !" a young lady prepared to write a refusal to a letter containing an offer of marriage, is a marvellous effort of pourtrayal of physiognomical expression. You instinctively feel for the poor fellow who is going to be disappointed, and so evidently does the girl, although she has no doubt about the propriety of refusing him. Prinsep has some works of unusual grace and power; he has made a great step in advance this year. There are beautiful things, too, by Tadema, Calderon, Leslie, Brett, Biviere, Earle, and endless other more or less familiar names, which, if we were writing in another journal, we should like to dwell upon. In the present exhibition there is a singular absence of works of art connected in any way with our profession. There is no portrait or bust of any great gun in medicine. A posthumous bust of the late W. A. Miller bears no resemblance to that distinguished chemist. We failed to find the usual number of sick children, which are the delight of many lady visitors. En revanche, however, there is a large picture by Marcus Stone, of much obstetric interest. A French soldier has returned from the wars to his cabin, to find his wife lately laid in with a baby. He embraces her with effusion, whilst his little girl endeavours to draw papa’s attention to the cradle, placed somewhat injudiciously, we think, near the open door of the hut. The picture is beautifully painted, admirable in its sobriety of tone and pose of figures, but the subject is surely unfortunate. It is impossible to get up any excitement of feeling about a soldier who can only have been away for a few months, and then, too, one inevitably begins to wonder what has become of the monthly nurse-an idea fatal to pathetic emotion. Mr. Seymour Haden sends a translation in etching of Turner’s "Calais Pier." This work must not be looked upon in the light of an engraving of a picture. It is something very different from, and far beyond, this. It would be more proper to compare it perhaps to the task which a poet performs who takes a masterpiece of imagination and builds a poem upon it. We do not believe for a moment that such a fine piece of etching as this of Mr. Haden’s has ever been produced before, and we cannot help feeling that the work gives us quite a new idea of the capability of the etching needle for broad and grand effects. our men.