Search

Readers of the American Journal of Ophthalmology may have noted "Third Series Founded by Edward Jackson" displayed on the front cover of this publication each month and speculated as to the significance of this statement. As inferred, there actually have been three separate magazines bearing this title over the past one hundred years. The first "series" has no ancestral or collateral relationship to the present Journal but the second "series" was one of several ophthalmic publications combined in 1918 to begin the third "series."

IN a recent article in 'Music & Letters' (April I954) Thurston Dart described a number of sixteenthand seventeenth-century virginal manuscripts which had not previously been noticed. To his list can be added another privately owned virginal book, which I have been privileged to examine. This manuscript dates from the mid-seventeenth century and may not add much important music to our repertory; but it certainly deserves recording, and the evidence it provides about ornamentation and fingering must be of value to those who study early keyboard instruments and techniques. The manuscript is at present in the library of Mr. Roger Lancelyn Green of Poulton-Lancelyn in Cheshire, and his family has owned it for many years. But it originally belonged to a member of another old Cheshire family; for it bears the name of Priscilla Bunbury stamped on the cover, twice written on the fly-leaf and once in the heading of a short piece of music. It has always been connected with Priscilla, the daughter of Sir Thomas Bunbury of Stanney, as her half-sister Ursula married Richard Greene of Poulton; and the second of the fly-leaf signatures is identical with a known autograph of hers. But this Priscilla was born about 1675 and thus cannot have been the first owner of the virginal book or the dedicatee of' Mrs. Prissilla Bunburie hir Delight'. This must have been another Priscilla, daughter of Sir Henry Bunbury, of whom little is known beyond her death in 1682 at the age of sixty-seven1; she would thus have been about thirty in the mid-I64os, when the manuscript is most likely to have been written. The volume now contains thirty folios of music, but the last two of these are loose, and at both beginning and end the music is incomplete. The stubs survive of three leaves cut out from the beginning, but the traces of ink on them are not enough to show whether they all held music; there may have been an index, or such marginal scribblings as appear on other pages. Again, there is nothing to indicate how many leaves of music are missing from the end of the book; but not many have been lost, to judge from the slimness of the binding. This is of brown leather, measuring 11 " tall by 8" wide, and is tooled in gold after the taste of the period. The front cover bears the name PRISCILLA BVNBVRY, with a conventional ornament between the two words, and the back cover has the same

archy a royal library. Bound at the beginning of a volume catalogued Lit. O No. 38 is a fragment of early music printing consisting of eight pages measuring 15X Io cm., the four folios of which are numbered 41 to 44. Plate Ia shows the back of the front cover, with royal bookplate, the torn remnants of a page in scribal Latin used in the binding; and opposite, two tenor parts of an Ave Maria, each marked In diapenthe; at the bottom right is the printer's signature of a cross patee followed by ll.i. The next leaf contains the two parts of a Duo, with the text En disant une chansonnette, the right-hand page marked at the top with the Arabic folio number 42, at the bottom with the cross pat6e and ll.ii (Plate Ib). The following four pages are occupied by a motet, Christi virgo dilectissima, and its secunda pars, Quoniam peccatorum molle premimur (Plate IIa, b), the left-hand page of Christe virgo being marked Canon in subdiapason, the right Ad tertiam, while in the secunda pars the right side is marked Canon in diapason, and the left is unmarked, but canonic solution is implied by a signum congruentiae. The reverse of fol. 44 brings another piece with French text, En venant de Lyon (Plate IIIa), which has but one written part and three signa congruentiae. Finis appears in print at the bottom of the page. After this commence sixteen partbooks, all contratenors from collections printed by Pierre Attaingnant between 1528 and 153 I, the first in order being Chansons de maistre Clement Janequin Nouvellement et correctement imprimees a Paris par Pierre Attaingnant demourant a la rue de la harpe devant le bout de la rue des mathurins pres l'eglise saint Cosme (n.d), under which a hand has written Liber prinus Quattuor vocum cantiones, and still further below has begun to list the contents of the volume under German titles (Plate IIIa). There can be no doubt whatsoever

SINCE the appearance of my previous notes on Alfodhol and Almadel in Speculum for July, 19271 and January, 19292 I have from time to time encountered more mentions and manuscripts of them. Some of these have been recorded in the third, fourth and sixth volumes of A History of Magic and Experimental Science or in A Catalogue of Incipits of Mediaeval Scientific Writings in Latin, but others have yet to be noted. Of the three chief manuscripts which hitherto were known of the work on divination of Alfodhol, Liber iudiciorum et consiliorum, Berlin latin quarto 559, fourteenth century, 47 fols, was described at some length by Steinschneider3 and that at Florence, Laurent. Plut. xnx, cod. iv, in Bandini's catalogue4 and by me. The third manuscript at Paris, Bibliotheque Nationale latin 7323, was apparently seen by Leclerc, but his account of it is quite brief.5 I may therefore add to it from notes which I took when I inspected the manuscript in the summer of 1929. The work is catalogued, I believe, as 'Aralfodhol de Merengi, philosophi Saraceni, liber iudiciorum et consiliorum 144 questionibus comprehensus,' and the manuscript dated fourteenth century. It is a large de luxe codex measuring about a foot by a foot and a half and whose worm-eaten wooden covers were once covered with some ornate cloth that has worn down to a few hairs. On the inside of the front cover is written, 'Liber Iudiciorum Alfodhol,' and on the inner flyleaf, 'Iudicio

The ‘interview’ undergone by the young prince in W F Yeames' well known painting shown on our front cover this month, was more painful than most. But job interviews are more often than not rather harrowing—at least in prospect—and we have asked four authors, each representing a different part of the interviewing spectrum, to give us their views about the process, its importance, and how best to approach something which happens to most of us at least once in our professional careers.

IN MY BIOGRAPHY of Anthony Trollope it is recorded that his copy of Bacon's Essays has survived and contains numerous annotations. A few of these are quoted, and the extent to which they are characteristic of the man who wrote them is briefly estimated. Now that Trollope has, for good and all, joined the select company of Major English Novelists, almost any marginalia which can add to our knowledge of his personality and principles deserve to be made public. Consequently I now feel justified in putting at the disposal of the band of enthusiasts who welcome this new Journal of Trollopian Studies the entire series of his comments on Bacon and his essays, as well as a description of the book in which they are written and of the manner in which it came into my possession. It is a reprint dated i878 of the third edition (i865) of Macmillan's Golden Treasury edition of Bacon's Essays and Colours of Good and Evil, edited by W. Aldis Wright. The binding is of full polished calf, dark slate-gray in color, with agreeable tooling and a red lettering piece on the spine. The edges are cut and marbled, and the end papers are also marbled and vaguely in harmony. Trollope's bookplate is on the inside front cover, and on a blank leaf of thin paper preceding the half title are two inscriptions

Dr Topping, whose own college is as yet less than half complete, notes some important considerations which should be borne in mind in the planning stages of new college buildings. The front cover photograph is of a model of Brunel as it is planned to appear in about 1964. The buildings with black roofs are already in use; construction of the others has not yet begun, in fact much of the site is still occupied by other buildings. Photographs 1, 2 and 3 are by The School of Photography, The Polytechnic, Regent Street, London. Brunel's architect is C. G. Stillman, FRIBA, Middlesex County Architect.

Introduction. In how many ways can a map be folded up? What follows is restricted to the one-dimensional problem, that is: Given a plane chain ('map') of p equal segments ('leaves') jointed together, in how many ways ('p-foldings') G(p) can it be rigidly collapsed into one segment? For example G(3) = 6, (see the figures (1)(6) and the table (31)). In the figures, the free edge of the 'front cover' is tagged with a dot; by turning the folding round (in the plane) or over (out of the plane), this tag can always be arranged on the left and pointing upwards. We shall assume it to be

Rico Lebrun's mural painting, entitled Genesis, which is on our front cover (detail) and in the illustration above, is located in Fary Hall (interior wall of south entrance), Pomona College, Claremont, California. Its dimensions are 29 feet high by 25 feet wide, the central figure of Noah being 12 feet tall. In the dining room of this same building is the celebrated Orozco fresco, Prometheus, of 1930 (cf: CAJ, Fall, 1957, “Orozco's ‘Prometheus’” by David W. Scott).

Some problems associated with low voltage (20—40 kV) radiography are described. A practically X-ray transparent light beam diaphragm has been achieved by using a mirror of aluminized Melinex 0·125 mm thick and a Melinex front cover. Some of the effects of these and other changes on the output and quality of the X-ray beam are described. Focal spot sizes of X-ray tubes of four different manufacturers have been measured under working conditions; focal spots frequently nearly double their normal size at 20—30 kV and high mA. They are smallest at high kV and low mA. Similar results have been obtained using a pinhole and a penumbra method. The penumbra method is more practical under working conditions and does not require the 0·7 correction factor recommended when using the pin-hole method. Modifications are described to the penetrameter cassette described by Ardran and Crooks (1968) which enable it to be used in the 20 kV range with an accuracy better than 1 kV. These consist of: (1) substitution of ...

Physical Diagnosis. A Textbook and Workbook in Methods of Clinical Examination. By Elliot Hochstein and Albert L. Rubin. 409 pp, 329 illus. $12.95. McGraw-Hill Book Co., 330 W 42nd St, New York 10036, 1964 The appearance of two new textbooks of "Physical Diagnosis" helps document the importance still attached to the primary skill of a clinician: the ability to examine a sick person and to draw conclusions from the data thereby obtained. Zatuchni has prepared his Notes to eliminate trivia and esoterica, and his taut writing produces a compact, highly readable book. Its brevity and style will hold great appeal for neophyte clinicians seeking "highlights of emphasis," rather than the extensive coverage of a conventional text. The publicational format of Zatuchni's book is unfortunate: a "pop art" distorted arm on the back cover, fading print on the front cover, and unattractive interior typography that makes the text look mimeographed. An

It is a book that gets hold of you at once. The steamboat river packets, those vessels carrying dispatches, mail, passengers, and goods and having fixed sailing dates, are a rich source of folksongs. This collection is decidedly one of the best books on American folksongs that has been published. The reason for this lies in the broad and deep touch of human nature in the soul of the editor, in her consummate knowledge of music, in her thorough acquaintance with the river packets, and her earnest work in collecting the songs and the stories. The editor tells us in her Preface that in the beginning she set out to collect only the words and the melodies of the songs, but that she soon realized that some facts about the songs and the singers-in other words, Negro stories-should accompany the songs. As Miss Wheeler says, "The background and thoughts of the folk singer are so inseparably associated with the song itself." And how thankful we are for these stories! What a picture of life on the rivers-the Ohio, the Tennessee, the Mississippi! These stories are almost as good as the songs. They are real folklore. The information about the packets is historically important. They are a thing of the past for the most part. Our trains, buses, and trucks are now the carriers. The first steamboat on the Ohio was built in Pittsburgh in 8I I and the most romantic period of the packet was just prior to and following the War between the States. At that time they were actually floating river palaces. I count eighty-seven items on a dinner menu card for I879 which is quoted in the Introduction. And what inviting juicy dishes they are! The form of the book is unusual. Its size is io by 7inches. Its color is maize with a picture of a steamboat stamped on the front cover. The illustrations are good, especially those of the steamboats and the view of the Paducah river front in I873. The Dedication reads: "To the Courageous Pioneers and Boatmen Who Made the Rivers a Course of Empire and to the Humble Minstrels Whose Songs Have Preserved for Us Something of an Era That Is Gone." The

To the Editor:— I enjoyed the abstract of the report of mesenteric arthritis (200, April 17, 1967, adv p 196) which appeared originally in the Archives of Internal Medicine. It is refreshing to learn thatThe course of the disease in all three patients was complicated by an episode of intestinal infarction, resulting from arthritis of the mesenteric vessels.New discovery of this magnitude deserves illustration on the front cover.

To the Editor:— I should like to differ with the interpretation of the Goya painting called El Garrotillo on the front cover of JAMA for Oct 31, 1966. The statement that Goya in this picture portrays a physician examining the throat of a child is certainly the usual one. Actually, this painting illustrates a scene from the 16th-century picaresque novel Lazarillo de Tormes . Nigel Glendinning, writing in The Listener for Feb 20, 1964, states that the unpleasant-looking man is not a doctor at all, but Lazarillo's first master, the blind beggar. The evidence for this interpretation became apparent when we learned that Goya's painting illustrated a scene from the particular work of fiction mentioned above. With this knowledge all the strange details of the painting fall logically into place. The man's long nose is required by the story and is not an arbitrary contribution of the artist, since it is

THE MANUSCRIPTS we wish to make known are five in number. Some have long slumbered in oblivion in the Southern Hemisphere, undisturbed by cataloguers, editors, bibliophiles, or palaeographers. Others are recent imports. A survey of the mediaeval manuscript resources of Australia disclosed their existence.' It is perhaps as well to announce it to scholars dutside the country. The Public Library of New South Wales in Sydney possesses a copy of Terentius Afer's Comoediae, shelf-mark LQI/T. It is paper, 300 x 202 mm., without a visible watermark, 107 folios whose collation is (1-10)'0 (11)7. The catchwords agree, but there are no quire signatures or foliation. The pagination in fifteenth-century arabic figures runs only 1-55. The quarter calf binding is nineteenth-century. The scribe copied the texts in brown ink in a single column of 33 lines, ruled in brown ink. His script is a fifteenth-century Italian humanistic round (cf. fig. 51b-in Kirchner's study2). Red ink is employed for rubrics, running titles, and names of actors, while capitals are alternately red with blue penwork and blue with red penwork. The incipits are 2r pamphilus anuente; l1r Huic pariundi; 106r Certa et clara; 106v Speroque hanc. In the sixteenth century a certain Julius de stia finatis wrote his name on 2r, followed a century later on Ir by Jo. Barberi Securi (?) I. G. Mediol. Inside the front cover we read "no. 494 Di Giuseppe Beltrarnelli" in a nineteenth-century hand, as well as "Phillipps MSS. 9078." Sir Thomas Phillipps of Middle Hill acquired this volume, it appears,3 from Thomas Thorpe in 1836. By 1910 it was in the hands of the Sydney bookseller, Angus & Robertson, who in that year sold it to the Public Library of New South Wales.

In an article in this Journal a few years ago,1 it was suggested that the paths of Jean Bodin and Peter Ramus must have crossed significantly during Bodin's critical formative years as a student at Paris, when Ramus was at the height of his controversy with the University authorities over his rejection of Aristotelian logic and the development of his own simplified system of dialectic. The article then proceeded to support this hypothesis by an examination of the unmistakable influences of Ramism that may be discerned in Bodin's published works from his commentary on Oppian's Cynegetica of 1555 to his Universae naturae theatrum of 1596. But in the absence of direct evidence it was necessary to infer a probable personal relationship between the two men from the evidence of Bodin's writings and from the fact that he is known to have studied philosophy in Paris for two years during the period when the Ramist controversy was at its height. This hypothesis of a Ramist influence upon Bodin's student years in Paris has now been dramatically corroborated in a most unexpected way. It is both confirmed and made more explicit by the discovery, in the Bywater collection of the Bodleian Library, of a leather-bound volume from Jean Bodin's library,2 which is lettered "Iohannes" on the front cover and "Bodin" on the back, and which bears two signatures, apparently those of the future author of the Republique. So far as I am aware this is the first volume from Bodin's library whose existence has become known to scholars of his thought. The contents of the volume afford a small but highly significant insight into the tantalizing darkness that still surrounds Bodin's early life and intellectual formation. Five separate treatises are bound together, as follows: (1) Omer Talon's Academia, together with his In academicum Ciceronis fragmentum explicatio and his In Lucullum commentarii (Paris, 1550); (2) Omer Talon's Rhetorica (Paris, 1551); (3) Omer Talon's In Marci Tul. Cic. partitiones oratorias annotationes (Paris, 1551); (4) Peter Ramus' edition, with commentary, of Cicero's De fato (Paris, 1550); 3 (5) Georgius Valla's commentary on Cicero's De fato. This last work lacks a title-page and has evidently been detached from the work that preceded it.4

As indicated on the front cover of the book, "The purpose of the Ross Pediatric Conferences is to assist in the correlation of the latest information derived from research on subjects of general interest in the practice of pediatrics, and to stimulate further research by an exchange of information and ideas." Dr. Henry L. Barrett, the chairman of the conference, gathered together a group of persons well qualified to carry out the purpose of the conference, and, as a result, the transcript of the conference is a stimulating and up-to-date description of current practices. The participants were persons who represented the fields of education, general practice, nursing, obstetrics, pediatrics, preventive medicine, psychiatry, psychology, and social work. Many are nationally known, and all served to present a variety of theories and procedures which merit serious consideration and can usefully be integrated into the practice of the general practitioner. The discussion was

The letter displayed on this week's front cover focuses on a new kind of crisis in the United States. Generally major crises have been international, frequently culminating in military conflict. The onus of dealing with these conflicts has been largely governmental, leading to a massive buildup of our defense forces, and to a major emphasis on legal problems. As a consequence, the present makeup of the federal establishment could be characterized as a legal-military complex. The new type of crisis is essentially national in origin and is characterized by shortages and impediments in the supply of materials and services needed to support a good quality of life; for example, clear air and water, good health and adequate food, energy and material resources. Our government leaders who have evolved in the traditional pattern of the legal-military complex are largely drawn from the ranks of lawyers and economists, because of their skills in political interaction with the ...

To the Editor:— Your story of Castleton Medical College, and the front cover illustration ( 204 :698, 1968) brought to mind the body snatching episode at Castleton, told to me 75 years ago by an old man then probably in his nineties. Called by everyone Grandpa Peters, his farm surrounded the little East Hubbardton cemetery, and his home was only a few rods distant. He had known that bodies were being stolen from the cemetery. On the occasion of one raid, the body of a recently buried woman was robbed from the East Hubbardton cemetery by Castleton medical students. A large group of East Hubbardton citizens went to Castleton (led by Edgar Ganson, Myron Dikeman, and Allen St. John) and recovered the body, found hidden in the Medical College. The woman's head had been removed and slipped out by one of the students. It was a practice at that time for

No Abstract Available. Credit for bringing the attention of the U. S. Weather Bureau to this tornado belongs to Dr. David White, home secretary, National Academy of Sciences, Washington, D. C., who received a copy of the print reproduced as Figure 1 and brought it to the attention of the bureau. The print was used as a front cover illustration of Science News-Letter of July 19, 1930. Mr. Blackstock has furnished a report on the storm from which the text following has been condensed.—Ed.