THE SCIENTIST. 
87 
genera and orders never crossed by reas- 
on ot cliano;e of environments? 
These, and a score of other impor- 
tant scientific questions can only be an- 
swered and satisfactorily settled by an 
impartial investigation of the fossil re- 
mains preserved in the rocks. 
As an example of the permanency of 
types, take the echinus of the cretaceous 
formations of Texas, and elsewhere, and 
compare it with the modern '-sea-urchin." 
They are almost identical, though separ- 
ated by millions of years! 
Th(! liiigula affords another example of 
this kind. In the vegetable? world, the 
fossil leaf prints in tlie Dakota sandstone 
prove that the sassafras and magnolia of 
ihe cretaceous period were quite similar 
to these species at the present time. 
The conclusions that may be fairly 
reached from a study of fossils, in the 
light of to-day, with the present devel- 
opment of science and facts already col- 
lected, are that organic forms have con- 
tinuously changed to harmonize with 
their environments, and that these forms 
have been higher or lower in liarmony 
with the law of adaptation and not ac- 
cording to the law of progression. 
The Iiitens*^ Brilliancy of Lightning. 
One consequence of the short duration of 
lightning is an apparent diminution of its 
brilliancy. It has been proven that light 
can not produce its full effect on the eye un- 
less it remains at least as long as one tenth 
of a second; but lightning lasts only the ten- 
thousandth part of a second, and it follows 
from this that we see is one-hundred thous- 
and times less bright than it really is. When 
we recollect that even thus diminished its 
brilliancy is such as to cause temporary 
bHndness if too closely watched, we may feel 
grateful that we can not see it in its true 
vividness, for our human powers of vision 
would be too weak to bear such a sudden and 
over-whelming illumination. — OaillarcPs 
'■'Electricity.'''' 
Foil The K. C. Scientist . 
Drawing in the Public Seliooh'. 
By, Sid J. Hare. 
It has been said that drawing is the alpha- 
bet of art. There is hardly an occupation 
that we may choose to follow, that does not, 
in some of its branches, require either the 
ability to draw or a knowledge of drawing, 
that will enable us to understand, or mere 
properly speaking, read the drawings made 
by ottiers. 
Mr. Chas. B. Stetson said "Almost every 
thing that is well made is made from a 
drawing; in the construction of buildings, 
shops, machinery, bridges, and in fact every- 
thing, it is not enough that there be draughts- 
men to make drawings; the workmen who 
are to construct these objects should be 
able without the help of a foreman to inter- 
pret the drawings furnished him for his 
guidance." He also said "The workman 
who lacks this knowledge and this ability 
must work under the constant supervision 
of another, doing less and inferior work and 
receiving inferior wages." 
In Europe, drawing is required to be 
taught in all schools, and free schools of 
art are open both in the daytime and even- 
ing, where those who wish may study under 
the direction of the best teachers. Mr. 
Stetson remarks that it is the educated, 
skilled labor of Europe and not the pauper 
labor as many believe, which America has 
reason to fear and against which she can 
defend herself only by educating her work- 
men equally as well. 
"Those who can learn to write can learn 
to draw." hlngland has proven this in her 
schools where one-hundred per cent of the 
scholars learned to draw fairly well and 
many remarkably well. 
Drawing develops the art-loving and criti- 
cising principles in us, and until we have 
this we cannot appreciate art collections, or 
enjoy the true thoughts of the artist, any 
more than one who cannot read, can enjoy a 
fine library of choice literature. 
