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The most useful thing that a civilian can do in these busy days is to speak as little as possible, and if he feels moved to write, to confine his efforts to his check book. [Laughter.] But this is an exception to that very sound rule. We do not know the present strength of the new armies. Even if we did it would not be necessary to make it public. But we may assume that there are several battalions in Great Britain which were not in existence at the end of last July, and some of them are in London. Nor is it any part of our national policy to explain how far these battalions are prepared for the work which is ahead of them. They were born quite rightly in silence. But that is no reason why they should continue to walk in silence for the rest of their lives. [Cheers.] Unfortunately up to the present most of them have been obliged to walk in silence or to no better accompaniment than whistles and concertinas and other meritorious but inadequate instruments of music with which they have provided themselves. In the beginning this did not matter so much. More urgent needs had to be met; but now that the new armies are what they are, we who cannot assist them by joining their ranks owe it to them to provide them with more worthy music for their help, their gratification, and their honor. [Cheers.]

ALIPPI-FABRETTI, QUIRINA. Silver medal at Perugia in 1879; honorary member of the Royal Academy in Urbino and of the Academy of Fine Arts in Perugia. Born in Urbino, 1849. She was the daughter of the jurisconsult Luigi Alippi. She studied drawing and painting in Rome with Ortis and De Sanctis. Following her father to Perugia in 1874, whither he had been called to the Court of Appeals, she continued her study under Moretti. She married Ferdinando Fabretti in 1877. She made admirable copies of some of the best pictures in Perugia, notably Perugino's "Presepio" for a church in Mount Lebanon, Syria. She was also commissioned to paint an altar-piece, representing St. Stephen, for the same church. Her interiors are admirable. She exhibited an "Interior of the Great Hall of the Exchange of Perugia" in 1884, at Turin. She painted two interior views of the church of San Giovanni del Cambio in Perugia, and an interior of the vestibule of the Confraternity of St. Francis. Her other works, besides portraits, include an "Odalisk," an "Old Woman Fortune-teller," and a "St. Catherine."

It is not surprising under these circumstances to learn that sticklebacks are successful and increasing animals. Their numbers are enormous, wherever they get a fair chance in life, because they multiply rapidly up to the extreme limit of the means of subsistence, and develop as fast as food remains for them. There the inexorable Malthusian law at last steps in: when there is not food enough for all some must starve; that is the long and the short of the great population question. But while provender is forthcoming they increase gayly. Sticklebacks live mainly on the spawn of other fish, though they are so careful of their own, and they are therefore naturally hated by trout-preservers and owners of fisheries in general. Thousands and thousands are caught each year; in some places, indeed, they are so numerous that they are used as manure. It is their numbers, of course, that make them formidable; they are the locusts of the streams, well armed and pugnacious, and provided with most remarkable parental instincts of a protective character, which enables them to fill up all vacancies in their ranks as fast as they occur with astonishing promptitude.

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