a more profound knowledge of the science by his careful and persevering observation of facts and symptoms; and the improvements he introduced guided medical men in the treatment of disease till the end of this period. Anatomical science was greatly advanced at this era by Malpighi, Steno, Ruysch, Duvernay, Morgagni, Albinus, Haller, and other continental physicians. In this country Humphrey Ridley published a work on the brain in 1695, and William Cowper, in 1698, his anatomical tables, said to be borrowed from the Dutch anatomist, Bidloo. In 1726 Alexander Munro published his "Osteology;" he was also founder of the Medical School of Edinburgh. In 1733 William Chesselden, the most expert operator of his day, published his "Osteography." In 1727 Stephen Hales published his "Vegetable Statics," and in 1733 his "Hæmastatics," which carried both vegetable and animal physiology beyond all preceding knowledge either here or abroad. Zoology and comparative anatomy also received some progress from the labours of Nehemiah Grew, Tyson, Collins, and other members of the Royal Society.
ORGAN IN ST. PAUL'S CATHEDRAL.
MUSIC.
Music advanced at an equal rate with its sister arts, and during this period added to its conquests the compositions of Parcell and Handel. Dutch William was too much engaged in war to become a great patron of music, or of any of the fine arts, and his queen, Mary, does not appear to have possessed any elevated taste for it. She is related by Sir John Hawkins to have sent for Purcell and Mrs. Arabella Hunt, a famous singer, to entertain her. Mrs. Hunt sang some of Purcell's splendid compositions, and Purcell accompanied them on the harpsichord; but Mary soon grew weary of these, and called on Mrs. Hunt to sing the Scotch ballad, "Cold and Raw!"
Purcell, however, produced the bulk of his works under this reign. He composed the music to "The Tempest," "Dioclesian," "King Arthur," "Don Quixote," "Boadicea," and "Orpheus Britannicus." Many parts of these, and his sonatas, anthems, catches, rounds, glees, &c., are as much enjoyed now as in his own day. The music to Davenant's "Circe," by Bannister, of Shadwell's "Psyche," by Locke, and of Dryden's "Albion and Albanius," by Grabut, had increased in this country the liking for the lyrical drama; but Purcell's compositions wonderfully strengthened it, and from his "King Arthur" may properly be dated the introduction of the English opera. Gay's "Beggars' Opera," six-and-thirty years after, however, was the first complete and avowed opera, and this did not establish that kind of entertainment In England. The wonderful success of this production, which was performed for sixty-three nights in succession, was chiefly derived from the wit and satire of the composition itself, the abundance of popular airs introduced, and the party feeling which it gratified. The airs were
