wrote his great work on American ornithology. The relics of Bartram's garden are still seen in the variety of trees which adorn the place, and in the majesty which has been imparted to some of them by a growth of more than a hundred years.

The Editor of Punch.-Mr. Joseph Hatton has published a very entertaining volume entitled Reminiscences of Mark Lemon. The anecdotes

given of Mark Lemon's career are chiefly concerned with his theatrical tours and his impersonation of Falstaff, a character for which nature had physically fitted him, and into which he entered with all the energy of his cheerful bearing. Mr. Hatton accompanied the "Show in the North," and his duties commenced very suddenly, in this wise. "The Show had arrived at Edinburgh before I was really summoned, as a friend, to take the management in the absence of the impresario proper, who was detained in London." And so he started on a cold morning in January, 1869, from Euston Square, and went to Edinburgh, Glasgow, Greenock, and afterwards to Yorkshire and Birmingham. Wherever he went Mark Lemon was greeted with affectionate respect, for all men knew the editor of Punch. But the picture of the man in more domestic scenes pleases us better, -as, for instance, at home, in Sussex. "It was a quaint, old-fashioned room, the dining-room at Crawley. The main portion of Vine Cottage had once been a farm-house, and it was Mark Lemon's fancy to retain the ingle-nook and some of the old-fashioned characteristics of the place. I remember a particularly notable gathering round the old table by the ingle-nook. Mark Lemon was looked upon as a sort of father of the village. Nothing was done in the place without his advice first taken and his assistance secured. On the occasion in question, it was a volunteer fire brigade." After the committee-meeting, he gave himself up to the entertainment of his rustic guests, and sang them " Cupid's Garden," and when the fire brigade had left, the mistress of the house sang 'Wapping Old Stairs," while "it was a pleasant sight to see the kindly and admiring husband watching his wife, and beating time with unlighted pipe." He wrote not at home, but at a small farmhouse in the fields not far off. 66 Writing," said he, as an old man, "writing does not come easy to me now. It often takes me an hour or two before I can work myself up to it. This is the process. A light breakfast or luncheon, and a steady walk to the little cottage farm I told you of. When I get there I unlock my room, put out my paper, nib my pens, and get all in order. Then I go outside, light my pipe, wander into the farmyard, look at the cows, or the pigs, or the poultry, or anything else, sit on a gate, perhaps, if I can balance myself, sniff the local perfumes of hay and straw, and presently the fit comes on; down goes the pipe, up comes the pen, and away you go.'

66

Nothing New Under the Sun.--Photography only adds another instance to the many on record which prove the truth of Solomon's saying: "The thing that hath been is that which shall be, and there is no new thing under the sun."

Humboldt, in his Cosmos, states that the Chinese had magnetic carriages with which to guide themselves across the great plains of Tartary, one thousand years before our era, on the principle of the compass. The prototype of the steam-engine

has been traced to the æolipyle of Hero of Alexandria. The Romans used movable types to mark their pottery and indorse their books. Mr. Layard found in Nineveh a magnifying lens of rock crystal, which Sir D. Brewster considers a true optical lens, and the origin of the microscope. The principle of the stereoscope, invented by Professor Wheatstone, was known to Euclid, described by Galen fifteen hundred years ago, and more fully in 1599 A.D., in the works of Baptista Porta. The Thames Tunnel, thought such a novelty, was anticipated by that under the Euphrates at Babylon; and the ancient Egyptians had a Suez Canal. Such examples might be indefinitely multiplied, but we turn to photography. M. Jobard, in his Nouvelles Inventions aux Expositions Universelles, 1857, says a translation from German was discovered in Russia, three hundred years 'old, which contains a clear explanation of photography. The old alchemists understood the properties of chloride of silver in relation to light, and its photographic action is explained by Fabricius in De Rebus Metallicis, 1566. The daguerreotype process was anticipated by De la Roche in his Giphantie, 1760, though it was only the statement of a dreamer.

In Dr. Hooper's Rational Recreations, 1774, is the following method of writing on glass by the rays of the sun. "Dissolve chalk in aquafortis to the consistence of milk, and add to that a strong dissolution of silver. Keep this liquor in a glass decanter, well stopped. Then cut out from a paper the letters you would have appear, and paste the paper on the decanter, which you are to place in the sun, in such a manner that its rays may pass through the spaces cut out of the paper, and fall on the surface of the liquor. The part of the glass through which the rays pass will turn black, and that under the paper will remain white."

In 1802, Thomas Wedgwood and Sir Humphry Davy contributed to the Journal of the Royal Institution a paper on "An Account of a Method of Copying Paintings upon Glass, and of making Profiles by the Agency of Light upon Nitrate of Silver." Let us take an extract or two from this paper, first reminding our readers that Daguerre did not announce his invention till 1839. "White paper or white leather," says the memoir, "moistened with solution of nitrate of silver, undergoes no change when kept in a dark place; but on being exposed to the daylight it speedily changes color, and, after passing through different shades of gray and brown, becomes at length nearly black. The alterations of color take place more speedily in proportion as the light is intense. When the shadow of any figure is thrown upon the prepared surface, the part concealed by it remains white, and the other parts speedily become dark. copying paintings on glass, the solution should be applied on leather; and in this case it is more readily acted on than when paper is used. The copy of a painting, or the profile, immediately af ter being taken, must be kept in an obscure place." The instruments Wedgwood and Davy used were the camera obscura and the solar microscope; the images produced, however, by the former were "found too faint to produce in any moderate time an effect upon the nitrate of silver." Davy says: "Nothing but a method of preventing the unshaded parts of the delineations from being colored by exposure to the day is wanting, to render this process as useful as it is elegant.'

For