must imagine a second scene, where some fair owner or stern host of the mansion, walks in to discover the damage done. In the roses lies the great merit of the picture, and such perfect roses as would almost shame natural ones. Nearest the mouth of the vase is a delicate tea-rose in very full bloom, wearing the appearance of falling apart, and diffusing its last breath of sweetness. Half way over its frail leaves, bends a superb queenly rival in a wealth of bloom, white and faint pink, tending to a deeper tint as it reaches the heart of the flower; and just above on a noble curving stem is the bud unfolding the rarest beauty. In abject fallen state is a twin-sister, pleading seemingly to be lifted up because of its loveliness. The colors are mingled with a gracious charm, the cloth of gold with the bright pink, the salmon with the crimson, whilst miniature buds and green leaves constitute not a little of the charming feast. Couder,s talent in this line cannot be excelled, and it is not too much to style him a god among the roses, to whom they might pay their sweetest tribute. This artist belongs to France, and if he gives so much satisfaction in the delineation of flowers of that bright land, we would also like him to send us some bunches of grapes; if not fresh from the vine, from his own skilful hand. No. 16. A Swiss Scene, by Seefisch, 1850, pretty and bright with its picturesque cottage, blue water and sunlight. No. 17. Scene in France, by Mr. Bouquet, having all the beauty of those leafy green bowers, where the spirit of valor and gallantry is sometimes met. Lo! here advances a mounted cavalier! The bugle is sounded, and what is to be done worthy of chivalrie France? No. 18. The Sea Coast, by Charles Lanman, a Washington artist and author. This is a small but meritorious picture. The fragments of a wreck blown ashore, tell of the
