San Marcos free press. [volume] (San Marcos, Tex.) 1877-1892, 1878-03-02
inine) scolds. On tho last occasion they !

inine) scolds. On the last occasion they
were used, Mesdames Whit and Niles,
conspicuous for linguistic powers, de-
termined on an appeal to Mr.. John
Chubb, the Mayor. The former lady
arrived first at the seat of judgment, and
went, hammer and tongs, at her story !;
but Mrs. Niles soon appeared on the
scene, when the controversy assumed so
vituperative a character that the Mayor
called for the constables. Each of the
ladies then appeared triumphant, for
each thought that retribution was at
hand for the enemy, whereas, to their
dismay, the gastute dignitary ordered
both to be Gagged ahtil they had settled
their dispute, After p brief incarcera-
ton, during which they were objects Of
much public interest, they emerged mild
as milk Penzance also had O cage.
The custom seems to have been confined
to Cornwall 3|nH tfi " Hld'b /
.VIiitB irpI nhi ~ fnoh 'Y9G .
Thu Belgian Hortieylsyrtst states that
there are mentibned in the. Bible about
so clearly distinguished plants, and
some so others in more general, terms
The works Of cHippocrates mention 2s4
vegetable species, and those of 'Theo-
pirates about $780, ,Pliny,,iin his natu-
raj history, gives the names of 800
plants From the Renaissance botany,
in common with, so much else, took a
vigorous start, I'll the sixteenth cen
fury one could find 800 splants' in the
works of Gesner, 1,400 in those of
l'Escluse, 1871 in Delachamp's :" Cen
eral History Of Plants" published in
l5S7,rand 200 in arworke by Bauhin.
Further progress was made in the sew
enteenth century, and in the eighteenth
Linneus defined 1924 vegetable species,
distributed into 1880 classes. In the
nineteenth century, according to Par
sons Synopsis Plantarum," from rs
to $4,000 vegetable productions were
known in 1906. In 1858 Lindley, in his
negotiable Kingdom" estimated the
genera at 1891, and the species at
'93,920.oa "' Er O" ,''i' a ,''' ~. ....
I ICAPUCHIN friar in Turin has con-
strueted a large and complicated work
of mechanism by which the passion or
sutferings of the Saviour, from His con-
domination before Herod to His death
on the cross, are marvelously represent
ed. On constantly receding platform
the figures appear and theiscenesl change.
Not only are the movements of the au-
tomato lifelike, but the figures and
scenery are masterpieces Sof art 9Ehe
crowd clamoring for His death is repre-
scented by q very numerous group Of
figures which are wonderfully distinct
in action and Appearance. The falling
beneath the cross on the way to Calvary
is painfully graphic. To- render quite
audible the lashing of the whips Of the
soldiers is one Of the functions of the
machinery. The scenes at the place of
execution and the death of the Saviour
are said to be beyond praise, and a
writerin Turin paper declares that the
extraordinary mechanism has but one
capacity of making
the figures articulate intelligibly. This
is chiefly evident when the
words are exchanged between the Re-
deemer and the penitent thief. The
sounds emitted from the figures are in
this instance ludicrous; but the friar
hopes to remedy this defect, and his
mechanism will, in all likelihood, be an
object of wonder at the Paris Exhibition.