There are many shipwrecks in which the waves, fashioned apparently of plaster of Paris, are very terrifying. Gun accidents are numerous and troubles arising from fireworks not uncommon. Tramcar accidents, including the collisions of the same, are frequent. There are incidents also of a simpler type. In one, for instance, a gentleman is represented as slipping—probably on a banana skin—on the Rampe at Monaco. He is falling heavily. Another shows a lady of eighty-three, nicely dressed and with a fan in her hand, walking indiscreetly at 7 P.M. on a plank projecting over a precipice. There is a mansion in the background from which a man—of the same size as the houses—is running to the scene of this imprudent act. There are also in the collection misadventures of an unusual character. Thus on a mountain road huge rocks are falling, in some profusion, on an omnibus. In a painting dated 1863 a child, aged fifteen months, is being eaten by a pig. The pig seems to have dragged the infant out of a cradle by its ear in order to consume it with greater ease. Some accidents may be classified as vicarious. For example a man is shown beating a mule. He does this without inconvenience to himself; but the resentful mule, who is evidently no discerner of persons, is kicking another (and probably quite innocent) man very cruelly in the stomach with its fore hoof. [Illustration: LAGHET: ONE OF THE CLOISTERS.] Then too there are complex happenings which must have involved a great strain upon the invention and resource of any artist who wished to be accurate. For instance here is a house being struck by lightning. The house, for the sake of clearness, is shown in section, like a doll’s house with the front open. In an upper chamber are members of the family engaged in cooking. The lightning passes ostentatiously through the room, leaving the occupants unharmed; but it escapes by the front door and there kills a donkey which is lying dead on the doorstep. Then again the average artist if asked how he would proceed to paint a picture to illustrate “recovery from inflammation of the right jaw” might find himself perplexed since the subject is so lacking in tangible incident. The ingenious limner of Laghet is, however, at no loss and proceeds to carry out the commission, with a light heart and in the following fashion. We see a bedroom with a bed in it and a chair. There are pictures on the wall. There is a table on which are a candle, a cup and a species of pot. On a cane sofa sits a solitary gentleman dressed in a frock coat and light trousers. His face is tied up in a handkerchief. The right side of the face is swollen. He appears to be about to leap from the sofa, his eyes being directed to a vision of the Madonna in a cloud on the wall. The picture clearly suggests that the sufferer has been laid up in bed; the candle hints at restless nights; the cup and pot at medical treatment. The fact that the patient is clothed in a