r sleep might know
no waking in this world, but might prove the means of re-uniting her
with her beloved husband. However, she was of too clear an intellect and
too strong of heart not to recognize that the ties of duty bound her to
this world; she had to bring up and educate her children, and to
complete and publish the important works her husband had begun. While
thus engaged, she contributed several articles on the East to the
_Presse_ and numerous other journals. In 1859 she published her own
narrative of adventure and travel in the steppes of the Caucasus. Great
political changes have occurred since Madame de Hell's visit to that
region, which have profoundly affected the character of its people and
their social polity; so that her account of it, as well as her account
of the Crimea, must be read with the necessary allowances. These,
however, will not detract from Madame de Hell's unquestioned merit as a
close and exact observer, endowed with no ordinary faculty of polished
and incisive expression, and a fine capacity for appreciating and
describing the picturesque aspects of nature. She wields a skilful brush
with force and freedom; her pictures are always accurate in composition
and full of colour.

Her later years have shown no decay of her resolute and active spirit.
She has accomplished a tour in Belgium, another in Italy, a visit to
London, and several excursions into the South of France. In 1868 she
proceeded to Martinique, where her eldest son had for some years been
established. We believe she has published her West Indian experiences
and impressions. But we have given up to Madame de Hell as much of our
limited space as we can spare, and now take leave of her with the
acknowledgment that among modern female travellers she deserves a high
rank in virtue of her intelligence, her sympathies, and her keen
sensibility to all that is beautiful and good.

MADAME LEONIE D'AUNET.

Among the crowd of lady travellers to whom this nineteenth century has
given birth, the able and accomplished Frenchwoman, so widely known by
her pseudonym of Madame Leonie d'Aunet, merits a passing allusion.
Remove from her the mask she is pleased to assume before the public, and
she stands revealed as Madame Biard, the wife of the great humoristic
painter, whose "Sequel of a Masquerade," "Family Concert," "Combat with
Polar Bears," and other pictures, are not less highly esteemed by
English than by French connoisseurs. Born