Notwithstanding the losses and suffering occasioned by strikes, Mr. Nasmyth holds the opinion that they have on the whole produced much more good than evil. They have served to stimulate invention in an extraordinary degree. Some of the most important labour-saving processes now in common use are directly traceable to them. In the case of many of our most potent self-acting tools and machines, manufacturers could not be induced to adopt them until compelled to do so by strikes. This was the ease with the self-acting mule, the wool-combing machine, the planing machine, the slotting machine, Nasmyth's steam arm, and many others. Thus, even in the mechanical world, there may be "a soul of goodness in things evil." Mr. Nasmyth retired from business in December, 1856. He had the moral courage to come out of the groove which he had so laboriously made for himself, and to leave a large and prosperous business, saying, "I have now enough of this world's goods; let younger men have their chance." He settled down at his rural retreat in Kent, but not to lead a life of idle ease. Industry had become his habit, and active occupation was necessary to his happiness. He fell back upon the cultivation of those artistic tastes which are the heritage of his family. When a boy at the High School of Edinburgh, he was so skilful in making pen and ink illustrations on the margins of the classics, that he thus often purchased from his monitors exemption from the lessons of the day. Nor had he ceased to cultivate the art during his residence at Patricroft, but was accustomed to fall back upon it for relaxation and enjoyment amid the pursuits of trade. That he possesses remarkable fertility of imagination, and great skill in architectural and landscape drawing, as well as in the much more difficult art of delineating the human figure, will be obvious to any one who has seen his works,--more particularly his "City of St. Ann's," "The Fairies," and "Everybody for ever!" which last was exhibited in Pall Mail, among the recent collection of works of Art by amateurs and others, for relief of the Lancashire distress. He has also brought his common sense to bear on such unlikely subject's as the origin of the cuneiform character. The possession of a brick from Babylon set him a thinking. How had it been manufactured? Its under side was clearly marked by the sedges of the Euphrates upon which it had been laid to dry and bake in the sun. But how about those curious cuneiform characters? How had writing assumed so remarkable a form? His surmise was this: that the brickmakers, in telling their tale of bricks, used the triangular corner of another brick, and by pressing it down upon the soft clay, left behind it the triangular mark which the cuneiform character exhibits. Such marks repeated, and placed in different relations to each other, would readily represent any number. From the use of the corner of a brick in