The New Laboratory at the Sorbonne.—This magnificent establishment, which is to be devoted to the pursuit of chemical investigation, seems to provide for the student's wants on even a more liberal scale than its celebrated rival at Berlin. Besides the various rooms for researches in chemistry, pur et simple, there are numberless apartments exclusively intended for investigation in optics, electricity, mechanics, and so forth. Motive-power is provided for by a steam-engine of great force, which is connected by means of bands with wheels in the several laboratories. Again, besides the ordinary pipes carrying coal-gas, there will be a series of pipes supplying oxygen from retorts kept constantly at work. Indeed, altogether the new laboratory will be a species of Elysium for the chemical investigator.
The Bessemer Steel Spectrum.—Father Secchi, who lately presented to the French Academy his fine memoir on the Stellar Spectra, compared the spectra of certain yellow stars with the spectrum produced in the Bessemer "converter" at a certain stage of the process of manufacture. The employment of the spectroscope in the preparation of this steel was begun a couple of years since; but the comparison of the Bessemer spectrum with the spectrum of the fixed stars has not, so far as we can remember, been made before. The Bessemer spectrum is best seen when the iron is completely decarbonized; it contains a great number of very fine lines, and approaches closely to the spectrum of a Ononis and a Herculis. The resemblance, no doubt, is due to the fact that the Bessemer flame proceeds from a great number of burning metals. The greatest importance attaches to the analogy pointed out by Father Secchi. Father Secchi suggests that beginners could not do better than practise on the Bessemer flame before turning the spectroscope on the stars. Difficult an instrument to conduct investigations with as the spectroscope undoubtedly is, the difficulty almost becomes perplexity when the student tries to examine stellar spectra.
New Publications.
Count Lucanor; or, The Fifty Pleasant Stories of Patronio. Written by the Prince Don Juan, A.D. 1335-1347. First done into English, from the Spanish, by James York, Doctor of Medicine, 1868: Basil Montague Pickering, Piccadilly, in the City of Westminster. For sale at the Catholic Publication House, 126 Nassau Street, New-York.
Mr. Pickering seems to revel in literary oddities. His book on the Pilgrim's Progress was quaint enough, and this volume is scarcely behind it in any of its queer qualities. A more totally foreign book we do not remember ever seeing. In style, idiom, turn of thought, everything, it is remote, toto caelo, from all the ideas and criteria of English and modern criticism. Its publication strikes us as being a remarkably bold stroke; we cannot imagine for what class of readers it could have been intended. The only market we could conceive of for such a work in this country, would be a class of Mr. George Ticknor's, if he were to have one, in Spanish archaeology. In Spanish, and as Spanish, we should think it would prove most interesting; even though the translation is intensely Iberian, both in structure and thought.
The "Fifty Pleasant Stories" are very simple as to the machinery, so to speak, of the telling of them. "Count Lucanor" throughout the book asks advice of his friend Patronio, stating his case, and being responded to with a story. Who Count Lucanor may have been is a mystery for ever. The book shows him to posterity only as a Spanish gentleman of apparent consequence, whose forte, as poor Artemus Ward would say, seems to have been to fall into difficulties and ask advice of Patronio. This gentleman appears as a sort of Don Abraham Lincoln, or Señor Tom Corwin, rather. Every question instantly and irresistibly reminds him of "a little story, you know," etc., etc. This is all of their history. What the end of a man must have been who answered every question with an anecdote, we can only shudderingly decline to conjecture. Whether the gallant Count Lucanor sportively ran him through the body after one story too many some roystering day; whether he went mad when the stories gave out, or whether death interrupted him in a sage narrative, with his sapient hand button-holing the count's doublet, it is not said.
There is a world of dry, old-world, dusty, aged pithiness about the stories. They are generally very fairly to the point, and often full of the peculiar patness so characteristic of Sancho Panza. The most remarkable thing about the book, though, is the really large number of apparent originals it contains. In it are gems of all manner of precepts and principles that others have amplified into poetry, and tragedy, and novels, and almost everything. Still, we cannot call this more than a seeming originality, because directly alongside of a tale we are surprised to trace in Shakespeare, or La Fontaine, (a principal debtor to Count Lucanor,) or some other admired author, we are as likely to find some story so aged, so thread-bare, so worn and torn and sapless with the use of centuries, that one is tempted to refer it back to the year 1. Several of the tales are taken from the Arabian Nights, and Don Juan Manuel generally modernized them (?) to suit the enlightened Castilian and anti-Moorish tastes of A.D. 1335, The old, old story of Alnaschar, for instance, is dished up as "What happened to a Woman called Pruhana," and the note to the story quietly goes on to the original original, (skipping old Alnaschar with a word as a mere junior copy,) namely, "the fifth part of the Pantcha Pantra," which, all will be charmed to learn, is entitled "Aparickchita Kariteva," which latter an Irish friend translates, "Much good may it do ye," and our annotator "Inconsiderate Conduct." We will not quote the intensely thrilling narrative of this Hindoo classic, but content ourselves with assuring our readers, on our honor as a Brahmin, that the point is identically the same.