universally the object of design, and have supplied the most beautiful,
and perhaps the earliest, embellishments of art. The pomegranate, the
almond, and flowers, were selected even in the wilderness, and by divine
appointment, to give form to the sacred utensils; the rewards of merit,
the wreath of the victor, were arboraceous; in later periods, the
acanthus, the ivy, the lotus, the vine, the palm, and the oak, flourished
under the chisel, or beneath the loom of the artist; and in modern days,
the vegetable world affords the almost exclusive decorations of ingenuity
and art."

3. _Entrance to the Village of Virex, in Italy_--a pleasing picture of
what may be termed _an architectural village_; for some of the dwellings
almost approach to palaces, and others have a conventual character, which
harmonizes with the sublime beauties of nature which rise around them.

4. _Interior of St. Saveur, in Normandy._ As an architectural picture we
are not disposed to rate this so highly as the two preceding.

The alternations of light and shade are admirably managed in all of them,
among which a flood of light streaming through one of the cathedral
windows will be much admired. The size of each picture is 70 feet by
50--and the four may be seen for _one shilling!_

Below stairs, the fine group from Reubens's Descent from the Cross, and
Albert Durer's Carvings of the Life of the Virgin Mary, still continue
open.

Another exhibition, _Trepado, or Cut-Paper Work_, to use a vulgar phrase,
"cut out" all the work of the kind we have ever seen. We have a sister
very ingenious in these matters; but her productions, compared with the