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The written symbol extends infinitely, as regards time and space, the range within which one mind can communicate with another; it gives the writer's mind a life limited by the duration of ink, paper, and readers, as against that of his flesh and blood body. On the other hand, it takes longer to learn the rules so as to be able to apply them with ease and security, and even then they cannot be applied so quickly and easily as those attaching to spoken symbols. Moreover, the spoken symbol admits of a hundred quick and subtle adjuncts by way of action, tone and expression, so that no one will use written symbols unless either for the special advantages of permanence and travelling power, or because he is incapacitated from using spoken ones. This, however, is hardly to the point; the point is that these two conventional combinations of symbols, that are as unlike one another as the Hallelujah Chorus is to St. Paul's Cathedral, are the one as much language as the other; and we therefore inquire what this very patent fact reveals to us about the more essential characteristics of language itself. What is the common bond that unites these two classes of symbols that seem at first sight to have nothing in common, and makes the one raise the idea of language in our minds as readily as the other? The bond lies in the fact that both are a set of conventional tokens or symbols, agreed upon between the parties to whom they appeal as being attached invariably to the same ideas, and because they are being made as a means of communion between one mind and another,-for a memorandum made for a person's own later use is nothing but a communication from an earlier mind to a later and modified one; it is therefore in reality a communication from one mind to another as much as though it had been addressed to another person.

BLAU, TINA. Honorable mention in Paris, 1883, for her "Spring in the Prater." Her "Land Party" is in the possession of the Emperor of Austria, and "In Spring-time" belongs to the Prince Regent of Bavaria. This talented landscape painter was born in Vienna, 1847. She was a pupil of Schaeffer in Vienna, and of W. Lindenschmitt in Munich. After travelling in Austria, Holland, and Italy, she followed her predilection for landscape, and chose her themes in great part from those countries. In 1884 she married Heinrich Lang, painter of battle scenes (who died in 1891), and she now works alternately in Munich and Vienna. In 1890 she gave an exhibition of her pictures in Munich; they were thought to show great vigor of composition and color and much delicacy of artistic perception. Her foreign scenes, especially, are characterized by unusual local truth and color. Among her best works are "Studies from the Prater in Vienna," "Canal at Amsterdam," "Harvest Day in Holland," "The Arch of Titus in Rome," "Street in Venice," and "Late Summer."

It is upon this basis that all previous discussions of law for regulating warfare have proceeded. The German submarine fulfills none of these obligations. She enjoys no local command of the waters wherein she operates. She does not take her captures within the jurisdiction of a prize court. She carries no prize crew which can be put aboard prizes which she seizes. She uses no effective means of discriminating between neutral and enemy vessels. She does not receive on board for safety the crew of the vessel she sinks. Her methods of warfare, therefore, are entirely outside the scope of any international instruments regulating operations against commerce in time of war.

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