where the distant hills are tipped with the sunset's ruby and gold. By the margin of a stream reposes in a half recumbent posture, a female figure, representing Mercy. She has closed her eyes, and an almost saintly peace enwraps her features. Her attitude so gently drawn is in unison with her mild, benevolent spirit, that is harmonizing all things, making earth seem a part of heaven. One hand is laid upon her breast, the other composedly rests upon the turf, as if in support of the upper erect portion of the body. The golden hair is half concealed by a sweeping veil of blue, and her garments are of white, gold and rose color. An angel has descended holding a crown, surmounted with tiny crosses, one of which is lit up with the divine glory of the sky. The seraph points to the heavenly realm, whose immaculate light is tinging drapery and wings. With face bent towards Mercy, he is about to bestow the glittering reward. This is perfect, and full of the sublimity which the subject demands. No. 89. The Letter, by H. Helmick, 1868. A beautiful picture, showing the interior of an humble French home. The old people are listening to the perusal of a letter from America, addressed to their daughter. The contents we may not know, but there is something wonderfully interesting, the father having stopped his smoking, and the mother her domestic work. No. 90. The Blonde Brunette and Medium, by T. P. Rossiter. The types are faithfully executed, and we will not say to whom shall go our chief praise. No. 91. Autumn on the Hudson, by Thomas Doughty. "Charming!" will be the exclamation when this picture is viewed in its faultless beauty. It makes us feel more than ever that the noble Hudson has a high claim upon our admiration—the rich autumnal tints coloring the trees in contrast with those yet un-
