book, to which the mild epithet of "improper" has been not unreasonably applied; while many have objected to its complex and elaborate tediousness, to say nothing of its unintelligibility. Nevertheless, we were resolved, no matter at what risk to ourselves, that Herr Wagner should have a fair chance; and a good number of sentences, which the impulse of the moment had induced us to erase, were subsequently restored, that not one link in the chain of his reasoning might be lost.

And now since our readers (we fear that our appeal must be addressed to a curiously investigating minority) have before them the whole Oper und Drame, in its integrity, will they be obliging enough to tell us what they think of it, what they have learned from it, and how, on a full consideration of the principles it developes at such length and prolixity, they would proceed to apply them to the composition of a musical drama? For our own parts we are at a loss to conceive.

the whole of his "musical household goods and chattels" as to present that monstrous paraphernalia under the fragments of which he now lies smothered. This paraphernalia is the modern orchestra, which Berlioz completed, and which Meyerbeer (always a thief-a "starling ") applied to operatic music, while, in the last stage of its death agonies, it was waiting for Herr Wagner to perform, like another Elijah, with inward faith and prophetic inspiration, the miracle of its revival.

This is the state at which operatic music has arrived, through progressive stages, from Gluck down to Meyerbeer. And remember that, while Mozart and the rest of them set out from a false view of the operatic drama, and went ou "erring,' each of the great composers, instead of enriching the art with contributions, in various styles, more or less approaching to masterpieces (as the world has wrongly supposed), did something apart towards degrading the operatic drama, administered, in fact, a blow to aid in the process of its dissolution. Meantime Beethoven, the genial madman his "hurried strokes" penetrating through the tortuous machinery of Berlioz into the profligate orchestra of Meyerbeer-conduced materially, though insensibly, to the final catastrophe. The operatic drama, as hitherto known, having been thus false and artificial from the outset, there is no need to regret its decease. Some ill-judging persous-remarks Herr Wagner, in one of his queerest chapters-pointed to the long-expected Loreley of Mendelssohn, as likely to give a new life to opera, and arrest its downfall; but Mendelssohn's good angel loved him too well to submit him to the ordeal of certain failure, and took him away in time. The blasphemy of this suggestion is only equalled by its impertinence. The admirers of Mendelssohn, however, may console themselves with the reflection that nothing such a mushroom musician as Herr Wagner can possibly say against his compositions will rob them of one atom of their value.

The first part of the book, or at least a large portion of it, is amusing enough, although all that can be rationally gathered from it is summed up in the critical opinions of Herr Wagner about other composers. That these are often profound and far-sighted, nearly always original, and clothed in a phraseology as odd and diverting as it is extravagantly metaphorical, few who have been able to wade through the volume will deny. But with the deductions ingeniously obtained by the author from his own premises, in his review of operatic composers, we cannot agree. We will not admit that the history of operatic music, from Gluck and Mozart down to Rossini, Auber and Meyerbeer, is the history of a mistake gradually rising to its point of culmination in the author of The Huguenots-a mistake ordained by Fate, in the beginning, to be rectified and atoned for by Herr Richard Wagner. Nor are we more disposed to grant that Beethoven, in his vain attempts to express by instrumental music that which it is impossible for instrumental Having, in the first part of his book, established to his music to express, has involuntarily abetted in bringing own satisfaction what the operatic drama should be, or rather the mistake to its aforesaid point of culmination. From what it should not be, but has been; having shewn that what Herr Wagner chooses to denominate "Beethoven's error" Mozart was a woman, because he would and could be nothing he derives all that is bad in modern music. To that error, but "an absolute musician,"* and that the "immeasurably indirectly, he attributes the origin of Meyerbeer's "vicious" rich" Beethoven went mad because he could not explain to orchestra. Intent upon that error, charmed with it, and people what he wanted to tell them (it is a pity that Beetgazing on it with amorous longing, M. Hector Berlioz grew out hoven was not born later, or Herr Wagner sooner they of it to what he afterwards became, until, though still devoured might then have met, and the union of music and poetry have with the artistic yearning, he was "irretrievably buried been accomplished); having examined the short comings of beneath the ruins of his own machines" (his own orchestra). Gluck; explained and in a measure justified the pretensions of The "Beethoven error" was the error upon which "the Spontini (who was as pompously conceited as Herr Wagner immeasurably rich musician" stumbled, in imagining that himself); having put Méhul, Cherubini, and "such like," in instrumental music, unassisted, could give a voice to human a corner; overlooked Spohr and Boieldieu altogether, condoled feelings and emotions, and find an echo in the heart of man- with the profitless "stammering" of Weber; presented us that music could be absolute-that the musician could be with portraits of Rossini and Auber, riding at their ease complete without the poet-in short, to apply Herr Wagner's in the "melodious coach," heedless where the horses might take own absurd and monstrous definition, the "woman" without them, while Meyerbeer, first as a starling, hops after the the "man." In his trouble, the vexed and disappointed plough, and picks up the worms (the ideas of his contempoBeethoven would appear, as it were, a "genial madman," and raries) discovered by the newly upturned earth, then like the note down "hurried strokes," etc. Upon these hurried others, in that same "melodious coach," protrudes his strokes of the despairing master, M. Berlioz gazed with body out of the window and seizes the reins himself, in "anxious polyscopity;" and, assuming them to be the essence order by the zig-zag motion of the vehicle to attract attenand soul of music, unconsciously took them as a starting point, tion from the passers-by; having done all this and a great and thence appealed to the world in compositions of an extra- deal more too long to narrate, seasoning the whole with a ordinary and unheard-of nature. Failing to make what he very original sauce, in which "the people," and "the had to say intelligible "to the stupid and thick-headed people" about him, (the Parisians-who were equally unable-Mozart and Beethoven-there is still a something established which * Mark how in the men that Herr Wagner praises most unreservedly to comprehend Herr Wagner) he arranged in such wise renders them inferior to himself!

people's melody," and "the people's way of looking at sing in a strain of dirge-like, measureless monotony. Lohenthings" form strange ingredients; with another sauce grin (its music-the myth is by no means bad) may fairly be (piquante) of which the relations of the sexes, the incomplete-likened to such a harp, with some strings loose, flapping ness of woman without man and vice versa, "parturition" and again st the wooden belly of the instrument, and against so forth, are the elements; and a third sauce, wholly composed broken panes of glass in the casement of a dilapidated tower. of a kind of "immeasurably" eccentric egoism, which The other strings are out of tune. The rain plashes against imparts a "relish" to the entire treatise; Herr Wagner con- barp, and wall, and window; while the gusts of (Herr cludes the first part of his hodge-podge of philosophy and Wagner's) wind blow upon it capriciously, violently at interpoetry, music and drama, history and tradition, metaphor vals, and, ever and anon, turning it upside down (poor harp !) and mythos, parable and paradox, theory and cant, criticism threaten it with instant destruction. Was there ever heard and contumely, truth and falsehood, eloquence and bathos, such music as the Lohengrin music! May it please Herr good sense and nonsense-a jumble of heterogeneous elements Wagner's "good angel" to imitate that other good angel (in in short, altogether unexampled in literature-with a pro- the matter of Loreley), and snatch him away to the spheres, position to examine "narrowly" the poet, in order that it where his muse will possibly be appreciated, and his harmay be seen whether that worthy is in a condition to monic soul be re-absorbed into the anima mundi, before he receive the love which the incomplete musician yearns to has time to threaten inoffensive people with an infliction of bestow upon him. "the whole " Niebelungen! The " narrow examination" of the poet is achieved, micro- Why does not Dr. Liszt, who raves about Herr Wagner, scopically, in the second part of Oper und Drame, which persuade the unhappy duke of Weimar into the exclusive represents a volume of far less interest to "absolute musicians" possession of the "future" man? The inhabitants of Weithan the first. Here mythos is explained, and recom- mar, what with Wagner and the other protegés of their mended, as the mine which alone can be successfully explored cherished Kapelmeister, must, if not quite deaf, be by this for materials to build up the operatic drama. A very masterly time at least as demented as the Duke and the Doctor; and and penetrating analysis of the mythos of Edipus and his no further harm can accrue to them. Bulow, Brahms, and family, according to the dramatic treatment of Sophocles, is the whole clique of "the Future," might be invited to take the best thing in the volume, and indeed we believe the up their residence at Weimar. The rail from Cassel, on one best thing in the whole of Herr Wagner's literary works. side, and from Leipsic, on the other, might be removed. Nevertheless the plan of applying myth to the purposes We should then see a community of musical socialists, someof dramatic music is not clearly laid down by Herr Wagner, thing like the New Lanark of Robert Owen, the colony who in his easy verbosity is apt rather to enlarge and be of Ole Bull, or the country described by Gulliver in discursive than to stick to a point until he has thoroughly his travels, where the inhabitants carried their heads under expounded it. His view of myth has a very extensive range, their arms. There would be no want of animal food, since and we imagine embraces the whole circle of national legends the place is full of geese. Liszt would be in his glory-at of every country; but he fixes no rule for choice of sub-the feet of Wagner; and "the Future" might be apostroject, and establishes no comprehensive principles upon which the "eagerly desirous" musician of the "Future" may be guided in his search after the Ultima Thule of the drama's perfection. In perusing Oper und Drame, volumes first and second, he will be tolerably bewildered; but when proceeding, with Herr Wagner himself, to examine "soberly," the important act of "parturition"-while music, allied to poetry, is bringing forth fruit in the perfected drama-if his wits be as fine as those of Hermogenes, and at the same time as brittle (which may be presupposed from the fact of his having entered upon such a wildgoose chase) they are likely to snap, and the "eagerly desirous" musician to go mad. Such an abstruse galimatias as this third volume is unequalled among the most vaporous and windy of the German metaphysics. It can never be understood without endless toil and contemplation, and when understood, is, for any sensible purpose, worthless. Herr Wagner is a very slow midwife. The labour of his muse must be so great that, ten to one, the parturition" results in something less considerable than a mouse and more unwelcome than an abortion. Tännhauser and Lohengrin are rare examples of this painful bringing forth-this tyranny of poet over musician-far worse than the despotism of Weber over Kind, who is consumed to ashes in the fire of the composer's melody, or the pernicious influence of Rossini over the"fat and lazy parasite," whom his patron, affably, though heartlessly, treats with "oysters and cham-able, it was acceded to.

pagne."

Herr Wagner, to speak in other language, would turn the musician into an Æolian harp, over the strings of which the wind of the "future" poesy might pass at will, making it

phised and worshipped by the citizens, until, "parturition being impossible, the little town became a desert. We merely throw out the hint.

IN the Paris correspondence of the Morning Advertiser (Thursday, Dec. 27), occurs the following paragraph:

"Malle. Cruvelli has just made another start from Paris, leaving her engagements and audience in the lurch. As on the last occasion, this eccentric person left without announcing her intention to cancel her engagements at the Opera. Before her return she will become the bride of a gentleman who has long been soliciting the honour. Decus et Tutamen." The whole of the above may be set down for as flagrant a specimen of wilful mendacity as ever disgraced the columns of the press. Beyond this, we have nothing more to say about it, unless that we are surprised a paper which pretends to respectability (a mere pretence, it is to be feared), should condescend to give currency to such miserable scurrility.

MDLLE. SOPHIE CRUVELLI has retired from the stage a fortnight sooner than was expected. A representation of the Vepres Siciliennes had been announced for the 16th instant; but the celebrated cantatrice solicited that her engagement might terminate immediately, instead of on the 31st December. The pretexts upon which she founded her request being found reasonHer marriage with M. the Baron Vigier, is to be celebrated on the 5th of next month.— Revue et Gazette Musicale de Paris.

Ibid.-Mdlle. Sophie Cruvelli has asked for and obtained the

MR. HENRY C. BANISTER'S CONCERT.-The crowded state of our columns has prevented us, till now, stating that the Annual Concert of this gentleman took place at St. Martin's Hall on Monday evening, the 26th ult. Mr. H. C. Banister is well known and deservedly respected in the musical world as a composer and pianist of merit. His qualifications as a composer were exemplified in a pianoforte sonata, which, though occasionally suggestive of the author's acquaintance with Mendelssohn's music, belongs to the right school, and is a work of considerable pretensions. As a pianist, the performance of Mendelssohn's trio in D minor, which, though Mr. Banister was evidently nervous, was fluent and vigorous-spoke highly in his favour. He was well seconded by Mr. J. Banister and Mr. Lucas as violinist and violoncellist. Two songs by Mr. H. C. Banister, "On a faded Violet," poetry by Shelley, and "Bonnie wee Thing," poetry by Burns, very pleasing compositions, were exceedingly well sung (the latter was encored) by Miss Dolby, who also sang the well-in known aria of Stradella. Some selections for the pianoforte by Messrs. Cipriani Potter and Sterndale Bennett were also well played by Mr. H. C. Banister, who also introduced a duet for two pianofortes by Mozart, in conjunction with Mr. Sterndale Bennett, which was warmly applauded. A duet for pianoforte and violoncello, with Mr. Lucas, at the end of the concert, and a sonata for violin and pianoforte, with Mr. J. Banister, both by Beethoven, were ably executed and deservedly applauded.

BALS MASQUES AT PARIS.-The first two balls at the Opera have been as brilliant as was expected. M. Strauss and his orchestra were in great force. The decorations of the theatre are as splendid as usual, while the illuminations excel those of former years. The costumes of the visitors were picturesque and eccentric. The foyer, adorned with flowers and brilliant with light, is, as usual, the rendezvous of all the "dominos" and intriguers. Messager des Théâtres et des Arts.

REVIEWS.

No. 1. "PIANOFORTE INSTRUCTIONS, EXERCISES AND LESSONS." De-
dicated to Cipriani Potter, Esq. By Lindsay Sloper.
No. 2. "PIANOFORTE SCHOOL FOR YOUNG BEGINNERS." By Carl
Engel.

No. 3. "AN ESSAY ON PIANOFORTE FINGERING." By Charles
Neate.

former we are not quite so certain. What else we have to say about The Pianoforte School for Young Beginners may be comprised in few words. The book is precisely what it assumes to be; but there are so many more of the kind extant, that, as the present one contains nothing new, we are at a loss to guess in what quarter it will be able to find a market. There is too much mere book-making in the music-publishing trade; and of this the present work of Herr Engel is an example.

Mr. Neate's Essay on Fingering (No. 3) is a work of considermain design, however, is in our humble opinion, rather fantastic than useful. In endeavouring to establish a close connection between the art of fingering and that of expression, Mr. Neate, to obtain certain effects, often advocates fingerings of passages the practice of which on the part of a pupil could only militate against the acquisition of perfect mechanism, the real basis of good pianoforte playing. Mr. Neate is not a greater advocate than we are for strictly following all the marks of expression that are to be found in the works of good composers (those of the modern school are simply hyperbolical); but we maintain, contrary to his opinion, that where perfect mechanism is possessed, the same passages may be executed in various different manners, without change of fingering. Perfect mechanism supposes an equal command over all the fingers of both hands—a power of using them, in short, as the executant may please, under whatever conditions. But this can only be acquired through long practice of an uniform, consistent, and legitimate system of fingering, a system which, once adopted, mastered and developed, would hardly be abandoned. In page 3 of his book Mr. Neate cites a passage which occurs three times, each time with different modes of expression-the first time the whole passage slurred, the second time a slur over each group of two notes, the third time ditto, the slur beginning on the second note instead of the first, which has a staccato dot. For this passage our author finds three fingerings, the last, we think, a bad one-while it is plain that a performer, with his fingers at command, could execute it very easily, not only with the three expressions cited, but with thrice as many more, if that were requisite.

ONE would have thought there had been enough of instructionbooks, elementary treatises, &c., for the piano. It seems not, how-able pretension, and we may add of considerable interest. Its ever; and admitting that every individual proficent may have something worth knowing to communicate, No. 1 (Pianoforte Exercises, Instructions, and Lessons) must be welcome, as coining from so thoroughly practised a pianist and musician as Mr. Lindsay Sloper. If we are required to state what the work contains of new, we shall be at some difficulty. That the whole is sensible and eminently practical may be stated at once, and will be readily believed; but except some good advice administered to professors, in the preface, together with general observations the truth of which is undeniable, we are at a loss to point out any absolutely novel feature. The book is divided into three parts (as may be implied from its title), the first theoretical, the second devoted to exercises and scales, and the third to short "elementary lessons," derived from various sources, and fingered with great care and minuteness. These, Mr. Sloper tells us, are "to be studied simultaneously, under the guidance and according to the discretion of the professor." (The italics are the author's.) The argument for this triple-task at once is thus presented:"Whilst the fingers of some pupils may be more active than their intelligence-in others the reverse may be evinced; and it is indeed difficult to devise a progressive course of study which shall be equally adapted to all." This, at least, seems to us rather obscure, as an apology for the performance demanded by Mr. Sloper. Because some pupils have one gift more remarkably developed than another, and vice versa, it seems hardly logical to set them all indiscriminately to do three things at one time. Probably it is meant that one section of the instructions should be read, one scale and exercise practised, and one elementary lesson mastered at each sitting. In that case the intention is clear enough, though it will scarcely admit of being universally carried out. Mr. Sloper has given "especial prominence to the first principles of fingering," to the early inculcation of which he rightly attaches very great importance. His own method of fingering, moreover, is so intelligible and easily applied, that we think him wrong in accompanying it, as he does occasionally, with examples of others which differ from it. This does not assist, but confuse, a learner. There is nothing worse, nothing which retards mechanical progress so much, as uncertainty and caprice in fingering. In the last paragraph of his preface Mr. Sloper admonishes teachers to impart to their scholars (among other wise things) “a reverential love of the great works of the musical art"-and for a reason that might be written in letters of gold-viz., “that in thoroughly educating individuals," they are contributing to advance the musical taste of the country." Nothing can be truer, and we should be glad if one professor out of ten would adopt it as a rule of conduct.

Herr Engel, in his preface to No. 2, (Carl Engel's Pianoforte School for Young Beginners) complains that young beginners are too early directed to the practice of "scales and pieces in which the fingers have to be put above and below each other" (meaning, we presume, to pass over and under each other). We cannot agree with him. We think, on the contrary, that, after having learned the names of the notes, so as to be able to identify them equally on the key-board of the instrument and on the printed staff, the very first thing to give to a beginner is the open scale of C. Let him at once commence the passage of thumb under fingers and fingers over thumb, so that it may early be made as familiar to him as the rest-since it should be remembered that, at the outset, this is not naturally more difficult than the mere alternation of the five fingers, one after another, without moving the hand at all. Herr Engel recommends every one who studies an instrument to cultivate the voice and acquire the rules of harmony. Of the advisability of the latter we are fully persuaded, but of the necessity of the

Not by any means that we wish to argue against the possibility of an occasional change of fingering on the same passage being capable of producing a good effect. But Mr. Neate seems desirous of constructing an elaborate system of expression on the ground of capricious and irregular fingering, and proposes many examples which, while utterly useless to advanced players, are only likely to trammel and perplex the young student. Moreover, we are inclined to believe that such a system, practised early, would be likely to lead to a degree of affectation in style which is the worst vice that can be engendered.

The Essay on Fingering, nevertheless, is well worthy attention, as the work of a thoughtful and intelligent man; and it is pleasant to follow Mr. Neate through all the ramifications of his system, and to observe the reading with which he illustrates his dogmas, step by step. By the way (page 6) in a passage belonging to the introductory slow movement of Beethoven's Sonata Pathetique, Mr. Neate "cuts his fingers," and descants upon a habit, too frequent with young performers, of not making a sufficient distinction between the treble and the bass (qy. the melody and the harmony?) when the right hand has a marked melodic phrase, and the left only chords, to play. He says they (that is the harmony and melody) should not sympathise with each other-which we maintain to be altogether erroneous; for though the harmony, in certain cases, ought to be subdued, it should always follow, is a great measure, the gradations of intensity given to the melody, and therefore must sympathise with it. Mr. Neate's way of reasoning may very well serve young ladies who have an aversion to full-chords for the left hand, and, in fear of drowning the right, are apt to leave out more than half the notes of the other, touching the rest so lightly that they can scarcely be heard. This sort of playing (vapouring, or smudging), is less to be tolerated than downright thumping-that is, where the thumper always hits the right notes. And after all, in such music as Beethoven's, shall all those rich and ever-changing harmonies count for nothing? Does not one note, peculiarly placed, denote sometimes as much genius, indeed, as a beautiful phrase of melody?

"ENGLAND'S WELCOME TO SARDINIA'S KING." Words by George Swain, music by August Manns.

The only characteristic of this effusion is its extreme length. It is dull as it is long, and as pretentious as it is dull; and as as Nym says "That's the humour of it."

PROVINCIAL.

(violin), Paque (violoncello), and Pratten (double-bass). Herr Goldschmidt also gave some pieces of Bach, Schumann, and Mendelssohn, solus, in a highly finished manner. The concert was altogether agreeable. The second concert, on Saturday afternoon, was equally good in its way, and equally well attended. Mad. Goldschmidt sang "Come per me sereno," "Deh vieni" (Figaro), a song by Herr Goldschmidt (a very genial composition), and Taubert's "Bird-song," unanimously encored. Signor Piatti played a violoncello fantasia; and Herr Goldschmidt (who accom panied his cara sposa in her songs at both concerts) again charmed the audience with some short and agreeable solo performances. There were more than six hundred persons in the room. PLYMOUTH. (From a Correspondent.)-Mr. Newcombe, the director of the theatre, has received addresses from many of the London and principal provincial theatres, signed by every member of the different establishments, thanking him for the sympathy and kindness he displayed on the occasion of the late melancholy accident.

MANCHESTER.(From our own Correspondent.)-The Covent Garden season over, M. Jullien has commenced his usual Christmas tour in Manchester. He has given five concerts. The first was on the 20th. The programme consisted of selections very similar to what were given in London. Fidelio, Zampa, and Der Freischütz, were the overtures on the second, third, and fourth nights; the quadrilles were Le Comte Ory, L'Etoile du Nord, and Il Trovatore; the valses were La Prima Donna, La Belle du Village, and Wild Flowers. The first part terminated, every evening, with The Fall of Sebastopol, and the second with a galop. Great treats were afforded to thousands by the "Classical" selections at each concert, and although last, not least, by the singing of Madame Gassier. The Fall of Sebastopol has caused a great sensation; and with the National airs of France and England, at the end, raised the same enthusiasm as in the metropolis. The solo performers in the quadrilles were generally encored. Mr. Hughes, on the ophicleide, in "Partant pour la Syrie," and the variations on the same, for the cornets, were especially admired. Reichart's flute solos have been, also, nightly-Edinburgh: Paterson and Sons, 27, George-street. London: Addison and Co., encored. The operatic "selections," in which the solo players distinguished themselves nightly, were unanimously admired and applauded.

Madame Gassier's songs were tumultously redemanded every time she appeared, She has had a regular "ovation." The "classical" selections made us regret that one night was not devoted (half the programme) to Mozart, Mendelssohn,

ven.

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The concert on Monday the 24th (Christmas Eve), was the most brilliantly attended of the series, the Theatre Royal being full from the stage to the higher gallery. On Christmas evening the programme was entirely devoted to sacred music, selections being given from The Creation, Elijah, The Messiah, and Rossini's Stabat Mater. Again the house was full to overflowing. Madame Gassier did not appear. The solos were by Mr. Lazarus (clarinet) "With verdure clad," Mr. Koenig (cornet) in 'Cujus Animam," and Mr. Hughes (ophicleide) in the opening of "Dal tuo stellato soglio." The greatest effects were produced when the full band was heard in the choruses, "Thanks be to God" and "The glory of the Lord" "Sound the loud trimbrel" (encored) and the prayer from Mosé. The only vocal performance was the "Pro peccatis," from the Stabat Mater, so finely given by M. Gassier as to be encored. The experiment of a sacred concert was highly successful; indeed, M. Jullien's visit must have been a most profitable one, notwith-small), and 21s, per bottle.-ROWLANDS' KALYDOR, an Oriental botanical prestanding the expense of bringing down a much larger orchestra than he ever had at Manchester before-the great and desirable addition being in the strings. There were about sixty performers, of which twenty were first and second violins and tenors, six violoncellos, and six double bassi. Let us hope he may pay Manchester another visit before his tournée is over, and give us a "Festival."

BRIGHTON.-(From our own Correspondent.)-The concerts of Mad. Jenny Goldschmidt have both been successful-remarkably so indeed. The first, on Wednesday evening, was attended by a host of fashionables. The programme was agreeably short. Mad. Goldschmidt sang an air from Beatrice di Tenda, the grand scena from Der Frieschütz, some mazurkas of Chopin (arranged by her husband), "John Anderson my Jo," and a Swedish melody ("The Echo"). All her performances were successful, but especially the last. Hummel's septuor divided into two portions (which The Brighton Guardian mistakes for two septuors)-was extremely well played by Herr Otto Goldschmidt (a really classical pianist), Messrs. Pratten (flute), Nicholson (oboe), C. Harper (horn), Hill

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ACTS FOR PHYSIOLOGISTS.-It is a singular fact that in this enlightened age and country the treatment almost universally adopted by the Faculty, in cases of Dyspepsia Indigestion), is the result of a false theory, indicating a lamentable ignorance of the Physiology or functions of establish and confirm the malady it is intended to remove. the Stomach, and Digestive Organs; and is in most instances calculated to The Secretary of the Nottingham Botanic Institute will feel a pleasure in forwarding (free) to all applicants, the extraordinary Botanic Remedy for Indigestion, Bilious and Liver municated to the Institute by that distinguished Botanist. The Medical Reform Complaints, recently discovered by Prof ssor Webster, of Philadelphia; and comSociety, (at whose cost these announcements appear), wish it to be frankly and distinctly understood, that they will not, in any shape, nor under any circumstances whatever, accept any contribution, fee, or gratuity, for this recipe; but only desire that those who may be signally benefitted by it, will forward to the Society a statement of the case, and thus aid with facts in accelerating the preSecretary, Botanic Institute, Nottingham. sent movement in favour of Medical Reform.-Euclose directed envelope to the