Science, Art, And The Drama.

Science , Art , and the Drama .

LIVING BAROMETERS . Amongst recent advances in weather-lore , one branch of this subject has received but scant attention . There is a widespread belief in the delicate powers possessed by some animals and pl-ints of predicting the approach of weather changes ; it is even said , in some cases , these natural barometers seem to be mnm sensitive than the meteorological instruments ii , ordinary use . Nor cou'd it be wondered at if the instinct which the

lower animals have acquired , throughout long periods of natural selection , of foretelling the coming of the storm that robs them of their food , or destroys their home and young , should prove more unerring than the more laborious observations of man . The power of adaptation to circumstances , which man alone enjoys to its full extent , has rendered it unnecessary that he should know , by intuition , what the weather of the next few hours may

be- But with the lower animals the case is altogether different . Defenceless as they are against the ravages of the storm , and powerless to combat the fury of the elements , it is often to them a matter of life or death should their instinct fail to warn them of approaching danger . This gift has , no doubt , been an important factor in determining the survival of the fittest ; it has given its possessors an advantage over their less fortunate

competitors . The gut may , however , be less mysterious than it at first sight appears . The President of the Royal Meteorological Society , in a long discourse on "Weather Fallacies , " printed in the Society ' s Quarterly Journal , while not affirming that all indications derived , as to the future , irom plants and animals are fallacious , practically asserted that most of those examined by scientific experts had broken down . The actions relied

on , as indication of future changes , indicate directly only what the animals at that moment feel , not what they feel is coming , If they act in a special way , before rain comes , that is simply , he believes , because they feel uneasy , by reason of actual chilliness , or danpness ; but in fact , may precede still wetter weather . So with plants ; they act in accordance with the weather conditions , actually

prevailing-conditions , which , in many cases , precede greater changes , so that valuable hints may be derived from these sources . The restlessness of domestic animals on the approach of rainy weather has given rise to many a wellworn household proverb . Cats and dogs are given to scratching and other uneasy movements , while their fur looks less bright and glossy ; horses and cattle stretch their necks and sniff the air ; sheep become frolicsome , or turn

their backs to the wind , with frequent quarrels ; goats bleat incessantly , and leave the hill-tops for more sheltered spots ; pigs run uneasily about , carrying straw to the sty , and no longer wallow in the mud and mire ; fowls huddle together in the farm yard , with drooping wings , and the air is filled with the clamorous cackle of geese and ducks . When Louis nth , astonished at the remarkable accuracy of the charcoal-burner ' s weather

predictions , curiously asked the cause , he learned that the real prophet was the man ' s donkey , which always hung his ears forward and rubbed his back against the wall on the approach of rain . But although domestic animals are undoubtedly sensitive to changes , present or coming , in the weather , it is among the wilder creatures that wc find this power in its fullest extent . Moles become more active in digging ; stoats and weasels

are unusually restless and uneasy ; rats and mice run noisily about in the house walls ; and the hedgehog fortifies his cave against the coming storm , with an unfailing precision , which has earned for this strange little animal , quite a reputation amongst weather prophets . Wild birds suffer much from inclement seasons , and might , therefore , be expected to have an unusually delicate perception of unfavourable conditions . In addition to

the accurate knowledge of the changes of seasons , which is indispensable to habits of migration , keen sensitiveness to weather conditions is abundantly shown in the daily habits of birds , both large and small . Rooks and swallows , instead of taking their customary distant flight , remain near home , when a tempest is brewing ; sea gulls no longer venture out to sea , but hover over the fields or fly inland when wind and rain are near : swallows

and martins fly low , and skim the water ; herons seem doubtful where to rest ; and the robin broods melancholy in the bush or seeks the shelter of a neighbouring roof . Stormy petrels have long established their claim to consideration by mariners as weather-guides , owing to their invariable habit of collecting in the wake of ships before a storm . There are some , however , who ascribe this behaviour of Mother Carey ' s chickens rather to the

superstitious imagination of sailors than to the weather wisdom of the bird itself . Even aquatic animals are alleged to be affected by the approach of atmospheric changes . It is said that porpoises and dolphins swim to windward on the approach of rough weather , and sailors look with misgivings upon the sports and gambols of these unwieldy creatures as they circle round their ships when the sea is calm . The variable prospects of the

angler according to the height of the barometer is , in itself , sufficient proof of the effect of the weather upon the inhabitants of our lakes and rivers . It is an interesting fact that the earliest suggestion of storm warnings for our coasts was that of Dr . Merry weather at the Great Exhibition of 1851 , wherehe shpwed a living barometer consisting of bottled leeches , which rang little bells , by an ingenious contrivance , when a storm was at hand . [ To be continued . )

Painters In The Reign Of Elizabeth.

PAINTERS IN THE REIGN OF ELIZABETH .

{ . Continued ) . The next painter of whom we shall speak is Cornelius Ketel . He was born at Gouda in 1548 , and early prosecuted his art with great ardour under the direction of his uncle , a tolerable painter , and a better scholar . At 18 he went to Delft , and placed himself with Anthony Blockland , with whom he remained a year . From thence he travelled to Fontainebleau , where he worked with great applause in competition with three of his

Painters In The Reign Of Elizabeth.

countrymen , but the Court coming to Fontainebleau , they were ordered to leave the palace . Ketel went to Paris , where he painted some histories , but an edict obliging the subjects of the King of Spain to quit France , Ketel returned to Gouda , and remained there six years . The troubles in his own country continuing , and consequently little encouragement being given to the arts , Kttel embarked in 1573 for England , and was

entertained at London by a sculptor and architect there , a friend of his uncle . Here he married a Dutch woman , and his works growing into esteem , he was much employed by the merchants in painting portraits , but was seldom engaged on history , to which his inclination chiefly led him . However , having painted an allegorical piece of Strength vanquished by Wisdom , it was purchased by a young merchant , and presented to Sir Christopher

Hatton , afterwards Lord Chancellor . This incident introduced Ketel to Court ; he drew a good length of Sir Christopher , now at the Earl of Lichfield ' s , at Ditchley ; the portrait of Edward Vere , Earl of Pembroke , and of several others . At last , in 1578 , he had the honour of painting the Queen herself , at the request of the Countess of Hertford ; this , we may suppose , was Frances Howard , second wife of the Earl , and sister of the

Lord Admiral Nottingham , a favourite . The Earl of Hertford had been in disgrace . ^ for his first marriage with the Lady Catherine Grey . Elizabeth , at this time , was being entertained at Hanworth , by the famous Anne Stanhope , widow of the Protector , and mother of the Earl of Hertford . The duchess died nine years afterwards , at the age of 93 . Ketel left England in 1581 , and settled at Amsterdam , where he painted a large picture of the trained bands , with their portraits and their captain , Herman

Rodenburgh Beths , at their head . In this picture , too , he introduced his own portrait . The disposition , resemblances , and the different stuffs of the habits , well imitated , were much admired in this piece . It was placed in the gallery of the Mall , at Amsterdam . In 1589 , he undertook another picture of the same sort , for the company of St . Sebastian , in which was the portrait of their captain , Didier Rosencrans . It was reckoned not inferior to the former , and was neither confused nor unanimated , notwithstanding the number of portraits it contained . ( To be continued . )

Our Visit To Paris.

OUR VISIT TO PARIS .

During the middle of last month we visited the ever gay and fascinating city . Although the Exhibition chiefly engrossed our attention , we managed to find time to visit the leading theatres , & c , of Paris . We have much pleasure in saying that in every case we were most courteously received and as the representative of the Freemason , the Dramatic Critic was warmly welcomed wherever he presented his professional card .

MADAME SARAH BERNHARDT ' THEATRE . The play here , which has had a long and uninterrupted run up to the present time , is entitled " L'Aiglon . " It is the production of the dramatic poet Rostand . The story revolves around the leading character of the piece , the Duke de Reichstadt , the son of the Emperor , Napoleon I . The plot is fanciful , and utterly improbable—there is beautiful writing in some of the

lines , for it is in verse . The chief role is undertaken by the famid Mim ? . Sarah Bernhardt . She , with her consummate genius , invests th . ech * r . « : t ; r of " L'Aiglon , " the unhappy young duke , with an interest which would fail to be awakened by a less distinguished artiste . We have alwavs mi a great admiration for Mdme . Sarah Bernhardt—in " Ernani , " " L \ Dane

aux Camelias , " and , ' above all , in " Adrienne Lecouv .-eur , '' which v ? consider her masterpiece , she has not had , and need not fear , any rival , but we must confess we were not so well pleased with the role she has lately taken up ; this , however , is a matter of individual taste . Tne great actress is well supported by her own selected company , especially by the actor who takes the character of Zephyrine Flammeau .

LE NOUVEAU THEATRE . This is the temporary home of Le Theatre Francais—the late thsatre having been burnt down comparatively recently . Here we saw " L'Avare , " the well-known comedy of Moliiire , revered by the French in much the

same manner as Shakespeare is by us . All the actors , thoroughly trained for their respective parts , rendered a complete and efficient performance . The comedy was supplemented by a play of domestic interest entitled " Le Filibuster , " which was interpreted with much feeling by those who took part in it .

" LE [ ARDIN DE PARIS "— " LES AMBASSADEURS . " The above are Cafe ; Chantants , on the Champs Elyscas . In the evening these Variety Theatres are brilliantly illuminated , and are the great resort of Parisians and " strangers within thegates , " who while away there the evening hours . With one or two exceptions we saw and heard nothing which might shock the sensitive ears of Mrs . Grundy . Some of the musical morreaux were from well-known classical authors , and were beautifully rendered .

MUSEE GREVIN . Tnis , which holds in Paris much the same position as Mme . Tussaud ' s in London , is a great attraction not only to visitors , but also to Parisians themselves . There are well-modelled groups representing scenes in the life of Napoleon I ., as , for instance . " An Evening at Milmaison , " " The Deathbed of Napoleon at St . Helena . " Many interesting relics are to bs seen in

connection with the first and second Empires— " The Assassination of Marat by Charlotte Corday , " also " Charlotte Corday condemned to death by the Revolutionary Tribunal , " " Some Domestic Scenes of Louis XVI . and Marie Antoinette in tne Prison of the Temple , " " The poor young Dmphin ( Louis XVII . ) and his brutal gioler , Timon , " and a series of

groupsseven in number—entitled a " History of a Crime , " from its conception ( murder ) to that of its expiation at the guillotine . At different parts of the rooms in most natural positions are figures which are apt to deceive ( at first sight ) visitors passing by . We were not surprised to learn that the " Musee Grevin " is a continued attraction . It is well deserving of it .

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