he battled for our independence. Two large volumes resting against the table are entitled "Statues of Va.," and "Constitution of the U.S." No. 77. The Huguenot's Daughter, by W. D. Washington, 1854. We view the interior of a Catholic chapel, at the altar of which two religious faiths are to be cemented in the love that springs from true and faithful hearts. The maiden is fair and lovely, and the cavalier at her side brave and manly. The priests, delegated to their sacred office, are about to seal the happy union, when suddenly the solemnity of the scene is invaded by the entrance of the bride's menacing parent and his followers. There is wild fury in their glances, disappointment and despair on the faces of the betrothed, and terror and agitation on the countenances of the priests. The censer has been overthrown in the confusion. "The tapers that light and odor gave, are changed to burning sighs," and heaven's blessing that was nigh, is lost in a father's curse. No. 78. On Catskill Creek, by W. B. Boggs. A work of fine finish, and particularly in the foliage that lines the banks of the swift current. No. 79. On the Coast of Calabria (artist unknown). A small chapel on a slight eminence overlooks the water, which is as blue as the azure of the sky. The cliffs along the border are bathed in the same hue, yet a single peep from the early moon has invaded this exquisite color, and cast a delicate trail of light on the mirrory surface of the sea. A stone bridge leads to the chapel, in front of which, at a little distance off, is a tall cross, where the pilgrim might bend his knee and say an "Ave Maria," ere entering the holy precincts. The lamps are lighted at the entrance of the shrine, and two of the monks or priests stand outside. Peasant women are lolling on the bridge, and some of the men are still busy with their fishing poles. Curv-
