We do not know whether the apparatus we have been describing is in use in any other establishment; probably it is. There seems no reason why it should not be brought into general operation. Though few, if any bakeries can have to supply so large a demand as that of the Royal Navy, there must be many of sufficient extent to make it worth while saving labor at the cost of the machinery; and though at Weovil it is only applied to making biscuit, the principle of it would seem applicable to the manufacture of any kind of bread. The great labor of the baker is in kneading. The process that effectually kneads flour and water would work equally well if other ingredients were mixed with those primary elements. Due regard being had to the rights of the inventor, we would wish to see his machinery widely employed in private as well as public establishments. It might prove a powerful ally in the cause of cheap bread. It might also be worth the consideration of brickmakers whether the machinery here described might not be advantageously applied to the purposes of their business. There seems a sufficient similarity in the two processes to render such an application of it very practicable. MEMS FOR MUSICAL MISSES. Sit in a simple, graceful, unconstrained posture. Never turn up the eyes, or swing about the body: the expression you mean to give, if not heard and felt, will never be understood by those foolish motions which are rarely resorted to but by those who do not really feel what they play. Brilliancy is a natural gift, but great execution may be acquired: let it be always distinct, and however loud you wish to be, never thump. _Practice_ in private music far more difficult than that you play in general society, and aim more at pleasing than astonishing. Never bore people with ugly music merely because it is the work of some famous composer, and do not let the pieces you perform before people not professedly scientific be too long. If you mean to play at all, do so at once when requested: those who require much pressing are generally more severely criticised than others who good-humoredly and unaffectedly try to amuse the company by being promptly obliging. Never carry books about with you unasked; learn by heart a variety of different kinds of music to please all tastes. Be above the vulgar folly of pretending that you can not play for dancing; for it proves only that if not disobliging, you are stupid. The chief rule in performing this species of music is to be strictly accurate as to time, loud enough to be heard amid the dancers' feet, and always particularly distinct--_marking_ the time: the more expression you give, the more life and spirit, the better will your performance be liked: good dancers can not dance to bad music. In waltzes the first note in the bass of every bar must be strongly accented. In quadrilles the playing, like the dancing, must be gliding. In reels and strathspeys the bass must _never_ be running--always