2. The Temple of Apollinopolis, in Egypt, a magnificent picture of Egyptian architecture—­“noble in decay.”  The splendid leaved capitals of the pillars reminded us of the following, which we had that morning read in the Journal of a Naturalist:—­“No portion of creation,” says the author, “has been resorted to by mankind with more success for the ornament and decoration of their labours, than the vegetable world.  The rites, emblems, and mysteries of religion; national achievements, eccentric marks, and the capricious visions of fancy, have all been wrought by the hand of the sculptor, on the temple, the altar, or the tomb; but plants, their foliage, flowers, or fruits, as the most graceful, varied, and pleasing objects that meet our view, have been more 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 cuttings of the Oxford-street Bazaar, are as John Nash with Michael Angelo.  These cuttings are in imitation of Line Engraving, comprising sixteen pictures, cut with scissars, among which are the Lord’s Supper—­Conversion of St. Paul—­The Battle of Alexander—­A Portrait of his Majesty George IV., &c.  They are almost the counterfeit presentment of pencil-drawings, such as Varley and Brookman and Langdon could not excel.  Yet these are cut with scissars!  A greater exercise of patience, to say the least of