mother and the child? Not that I would insinuate here, that such a dilemma does not sometimes though certainly very rarely exist: but is it not to be feared, that it is too often rather lightly taken for granted that it does exist? May it not be presumed, that the instruments are brought oftener into use than is necessary, for the sake of a dispatch, of which the child is almost ever the victim, and not unseldom the mother herself, who is always hurt, and sometimes irreparably damaged? May it not be justly suspected, that the abuses of Art have occasioned to many women an appearance of barrenness, from the reality of which kinder Nature had in fact exempted them? BUT as if ignorance, inability, impatience, interestedness, were not all of them sufficient motives for the forcing use of these instruments, Dr. Smellie has unmeaningly added another, which alone must, to the greatest number of the men-practitioners, prove a greater excitement than all the others put together, if it be true, that Vanity has so great a predominancy over the human heart as it is generally imagined to have. But let us first quote him: the inference will follow. “(P. 265.) _at any rate, as_ women _are commonly_ frightened _at the very_ name _of an_ instrument, _it is adviseable to_ conceal _them as much as possible_, untill (mind pray that UNTILL) _the_ character _of the_ operator _is_ established.” (P. 273.) “_Though the_ forceps _are covered with leather, and_ appear _so_ simple _and_ innocent, _I have given directions for_ concealing _them, that_ young practitioners BEFORE _their_ characters _are_ fully established, _may avoid the calumnies_ and _mis-representations of those people who are apt to prejudice the ignorant and weak-minded against the use of any instrument, though never so necessary, in this profession; and who taking the advantage of unforeseen accidents which may afterwards happen to the patient, charge the whole misfortune to the_ INNOCENT OPERATOR.”