I would make a passing allusion to this figure, introduced by artist number nine, to please the young people.  It represents a Spitsbergen lover.  He is clad in fur, and has a catarrh.  He is just now oh his sneeze, warbling hoarsely:  “Rein deer in this bosom!”

(Sentimental strains from the melodeon.)

THE GRAND CANAL.

This is not the Erie Canal, but the Grand Canal of Venice.  It does not own so many mules, or forward so much corn and flour, as the New York concern, but is more airy and picturesque.  It is surrounded by palaces; but what is a palace without a mother?

These swan-like men-of-war are gondolas.  Our skipper is called a gondolier.  Every other skipper is called something worse than that if he gets in our skipper’s way.  I respect a man’s calling; that is, if he follows it up energetically.

The Rialto, with its busy throngs.

The Bridge of Sighs, where Lord Byron is said to have stood on either hand.

A group of native beggars.  This man is blind.  With this Venetian blind we beg leave to close this scene.

SARSFIELD YOUNG.

* * * * *

The Flesh-pots or Paris.

A late newspaper item states as follows:—­

“The Archbishop of Paris has given permission to use horse-flesh on fast days.”

It is lucky for Mr. BONNER’S crack horses, then, that they are not stabled in Paris just now, since they are all considered first-rate for Fast days.

* * * * *

“SOAP"-STONES.—­Wall street “rocks.”

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