mouths all open as they join in the chorus, and with such distinctness
that some of them might readily be recognized by those familiar with their
aspect. This, it is to be remembered, is not a reduced stereograph for the
microscope, but a common one, taken as we see them taken constantly.

We find in the same series several very good views of Gibson's famous
colored "Venus," a lady with a pleasant face and a very pretty pair of
shoulders. But the grand "Cleopatra" of our countryman, Mr. Story, of
which we have heard so much, was not to be had,--why not we cannot say,
for a stereograph of it would have had an immense success in America, and
doubtless everywhere.

The London Stereoscopic Company has also furnished us with views of Paris,
many of them instantaneous, far in advance of the earlier ones of Parisian
origin. Our darling little church of St. Etienne du Mont, for instance,
with its staircase and screen of stone embroidery, its carved oaken pulpit
borne on the back of a carved oaken Samson, its old monuments, its stained
windows, is brought back to us in all its minute detail as we remember it
in many a visit made on our way back from the morning's work at La Pitié
to the late breakfast at the Café Procope. Some of the instantaneous views
are of great perfection, and carry us as fairly upon the Boulevards as Mr.
Anthony transports us to Broadway. With the exception of this series, we
have found very few new stereoscopic pictures in the market for the last
year or two. This is not so much owing to the increased expense of
importing foreign views as to the greater popularity _of card-portraits_,
which, as everybody knows, have become the social currency, the
sentimental "green-backs" of civilization, within a very recent period.

We, who have exhausted our terms of admiration in describing the
stereoscopic picture, will not quarrel with the common taste which prefers