firming him in the belief that little bodies are as thoroughly well adapted to their surroundings as are the big; so he reaches the inevitable conclusion that, in nature, there is neither great nor small; all things being relative.

The early exercise of visual perception is of incalculable value to the diagnostician and prognostician in the interpretation of facial expression in disease, the study of which began with Hippocrates who so concisely described the expression of the moribund that facies Hippocratica is given to the appearance of a sufferer with an unnaturally "sharp nose, with eyes hollow, temples collapsed, ears cold and contracted, forehead rough, parched and distended, and face livid, dark, or lead-colored."

The distended nostrils and labored respiration of a patient, the staring eye of another, the depression of the angles of the mouth of a third, and the expression of great suffering or of terror in a fourth, so well depicted by Charles Bell; each has its significance to the shrewd and quick observer the moment he enters the sick-room ready with his ministrations for immediate relief, and then free to question the sufferer or attendants, complete the diagnosis, and prescribe further treatment.

Culture of the visual sense may be made subservient to the worldly relations of the physician who should be an accomplished man of taste in arts, as well as learned in letters and science. Therefore, occasional visitations to collections of living animals, parks, museums, and art galleries, and the frequentation of clever artists, should become a part of the student's recreation. There he can

cultivate his feeling for color, form, landscape, statuary, and thus learn to be able to judge of the beautiful, the sublime, the picturesque, and the statuesque.

The auditive sense has ever been on the alert, for, the first sound hearkened by man was that of his own voice when, after the first breath of air, he cried lustily and, ever since, has been very fond of hearing himself talk. The child listens with joy to his own prattle and to his shouts which the fond matron so surely distinguishes from the cry of pain or the scream of alarm that recognizing the last, with the keen ear of motherly love, she flies to the

rescue.

The sound of the human voice differs so greatly from that of beasts that these, whose auditive sense is of the acutest, hearing it from a distant point, are soon ready to flee from their formidable enemy man who himself, at first, was affrighted by the whistling wind, the growl of distant thunder, the roar of the lion, or the bray of the ass. In time, however, courage came with knowledge. Then began his discrimination of noises to which he listened with the mind's ear and thus perceived that certain distinctive sounds were made by different animated creatures which he strove to see; as the croak of the frog, the hiss of the serpent, the chirp of the cricket, the buzz of the bee, the pipe of birdlings, the hoot of the owl, the cluck of the hen, the crow of the cock, the cackle of the goose, the bark of the dog, the yaup of the fox, the howl of the wolf, the grunt of the swine, the bleat of the lamb, the bellow of the bull, the neigh of the horse; and soon

the moan of the parturient, the pule of the new-born, then the merry laugh of the child, the shouts of the boy, and the yell of the multitude. All these and myriads of other sounds are quickly specialised by the practised human apparatus of audition which is the most complicated of the five, consisting, as it does, of a sort of resounding board known as the pavilion of the external ear, serving also to indicate the direction of sounds which it sends inward, through an ample conduit to the drum-membrane separating the middle and external ears; of the middle ear, partly walled by hard bone, receiving air by means of a tube from the back part of the nasal cavity; and the internal ear, separated from the middle and embedded in bone of stony hardness, with its labyrinth in which are those marvelous organs that serve to specialise so well the most delicate modulations of sounds.

To exercise the auditive sense with advantage, the student should hearken to every sound with the ear of his mind, without which there can be no real audition; he must heed to hear, he must hear well to interpret correctly. When, directed by a master, he listens to the heart-beats, he soon learns what their nature is in health and then in disease, and by his perception of their peculiarities he ascertains the actual condition of the organ. In auscultation of the lungs he employs similar processes, and assists the end organ, in either case, by the use of one of the instruments of precision, known as the stethoscope, brought into general usage by Laennec early in the nineteenth century. The same idea may have occurred to

some close predecessor of the great French physician, but his invention has not been contested. He was probably aware of the use of mediate auscultation among men for a long time, not however, for the purposes of the physician. He may have found mention made of direct auscultation in the play of King Henry IV., when Prince Harry says to Falstaff "lie down; lay thine ear close to the ground and list if thou canst hear the tread of travellers." He may also have found a reference or suggestion of mediate auscultation in Rabelais' Pantagruel. That learned physician and cunning satirist, who was so long before Shakespeare in valuing auscultation, relates that Panurge, wishing to ascertain the approach of the patrolling guard, placed his sword upon the ground and applied his ear to the pommel; the degree of vibration indicating the nearness of the comers. That surely is a fair example of mediate auscultation with an extemporised stethoscope. However, both Shakespeare and Rabelais must have been anticipated by savages who even now practice direct auscultation of the ground to ascertain the approach of enemies or of game, but these had probably learned the trick from the beasts. "He has his ear to the ground," is a commonly used metaphor in praise of an astute, observing, vigilant man.

Aside from professional labors, and during recreation, the student will find profit toward the cultivation of his auditive sense by listening to the discourses of those great orators who are full of the spirit of persuasion and blessed with sweet voices in which to utter the most exalted sen

timents with all the splendor of their marvelous elocution, and with such earnestness of manner and such simple, natural, graceful gestures as to gladden also the visual sense of every auditor. He will derive both pleasure and profit intellectually and sensually by cultivating the legitimate drama interpreted by able artists, just as he will in the case of the grand opera where he will have great sensual gratification from the classical music of the nineteenth century masters and of some of their predecessors. There he will have a good opportunity to exercise those wonderful organs of his internal ear to enable his mental audition to detect and enjoy the sweetest and most delicate vocal notes, and to derive the highest degree of pleasure from the melody and harmony such as can be evolved only from a great orchestra led by a masterly chief.

Nothing is more refining to the senses than good music, justly regarded as a supreme blessing and a great treasure "cheering to the spirits and ennobling to the mind, lending soft blandishment to fascinate all mankind.”

Much relief is often obtained, from mental anguish and corporal distress, by listening to pleasing musical sounds. Galen, who was a firm believer in the efficacy of this adjuvant in the treatment of those mental affections which react so injuriously on the body, cited Æsculapius in support of his views; saying that this Grecian physician and bard was in the habit of resorting to music in the cure of such disorders. Ages ago it was ascertained that sweet, soft, gentle vocal or instrumental notes not only appeal to the emotions but sooth the nervous, the sick, the sleep