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We describe accommodations that we have made to our applied computational-theoretical chemistry laboratory to provide access for blind and visually impaired students interested in independent investigation of structure-function relationships. Our approach utilizes tactile drawings, molecular model kits, existing software, Bash and Perl scripts written in-house, and three-dimensional printing in a process that allows a blind or visually impaired student to satisfy her or his curiosity about structure-function relationships with minimal assistance from sighted co-workers. (Contains 1 table and 1 figure.)

Watteau's two paintings titled 'Pilgrimage to the Island of Cythera' present figures who have resisted traditional interpretation but are subject to analysis as dancers fulfilling an idealized role. French aristocracy of the period recognized dance as a sophisticated and subtly erotic form of social interaction, and used its refined movements to announce themselves and their status. The paintings portray large groups of dancers or individuals in dancelike poses, creating social nuances not readily explicable in text.

The Royal Academy exhibition was held at Somerset House, London. It is a better way of reviewing the historical development of the major public venue and it prompts the public to think about the institutions. Art on the Line is the multiauthor monograph addressing the Royal Academy Exhibitions.

Reviews Alastair Laing's 'The Drawings of François Boucher' (2003), an exhibition catalog accompanying a 2003 exposition of drawings by French artist François Boucher (1703-70).

Critiques the exhibit 'The Art of the Timekeeper: Masterpieces From the Winthrop Edey Bequest.' Description of the timepieces in display; History of the collection; Exhibit venue and schedule.

Reviews the exhibitions `Watteau and His World: French Drawing from 1700 to 1750,' and `A Treasure House in Farmington: The Lewis Walpole Library.'

Reviews several exhibitions in the United States as of September 1999. Includes `Eighteenth-Century French Drawings in New York Collections,' at Metropolitan Museum of Art, New York on 2 February-25 April 1999; `French and English Drawings of the Eighteenth and Nineteenth Centuries From the National Gallery of Canada,' Frick Collection on 9 February-25 April 1999.

Argues that the concentrated focus upon figural articulation in the drawings of Antoine Watteau invokes a pronounced appreciation in early eighteenth-century French culture for the construction of the body as spectacle. Sociality of corporeal spectacle; Refinement of `character'.