for their true feeling for nature. The Boston Athenaeum has one of his landscapes, and several are to be seen at the Philadelphia Academy of Pine Arts. Nos. 6 and 7, are Portraits of General Warren and Mrs. Warren, by J. Singleton Copley and C. W. Peale. The first claims our warm interest, as the memory of the man is identified with the days of the Revolution, and his heroic death at Bunker's Hill. Mrs. Warren is a dignified lady, dressed in the attractive costume of "ye olden time." No. 8. A Battle Scene, on copper, by Breughel. In the distance lies a peaceful country, but the foreground is filled with a heterogeneous mass of beings and cavalry amid great confusion and strife, and yet all the miniature details are wonderfully distinct. No. 9. A Winter Scene, by Regis Gignoux, 1850, is a true delineation of the severity of the ice-king and the cold, cold snow, at the same time shows how rigor can be tempered by the rollicking spirit of youth. Skimming over the frozen water are several skaters enjoying the jovial exercise, but one boy has unluckily lost his equilibrium. The driver of a rude little sledge has trusted to the thickness of the ice, and stopped to look on at the sport. He seems very comfortable in his warm wrappings, as also his horse in a close fitting blue blanket. The wheel of the old mill has stopped its revolutions, and from its icebound sides are pendant icicles. The trees look bare and skeleton-like, with only a fine powdering of snow. No. 10. A Lake Scene, by the same artist, portrays a pleasant and inviting spot, the trees overshadowing the water, and affording agreeable shelter for the groups that sit beneath them—be they sentimental lovers, or happy children resting from their play. No. 11 Mount Washington, by J. F. Kensett, 1851, is painted with that rare finish for which this artist was emi-
