At Quimperle is a house so like the curious old building
lately removed from Dock Square in Boston, that it is commonly taken for
it at the first view. The Roman tombs at Arles and the quaint streets at
Troyes are the only other French pictures we shall speak of, apart from
the cathedrals to be mentioned.

Of the views in Switzerland, it may be said that the Glaciers are
perfect, in the glass pictures, at least. Waterfalls are commonly poor:
the water glares and looks like cotton-wool. Staubbach, with the Vale
of Lauterbrunnen, is an exquisite exception. Here are a few signal
specimens of Art. No. 4018, Seelisberg,--unsurpassed by any glass
stereograph we have ever seen, in all the qualities that make a
faultless picture. No. 4119, Mont Blanc from Sta. Rosa,--the finest
view of the mountain for general effect we have met with. No. 4100,
Suspension-Bridge of Fribourg,--very fine, but makes one giddy to look
at it. Three different views of Goldau, where the villages lie buried
under these vast masses of rock, recall the terrible catastrophe of
1806, as if it had happened but yesterday.

Almost everything from Italy is interesting. The ruins of Rome, the
statues of the Vatican, the great churches, all pass before us but in
a flash, as we are expressed by them on our ideal locomotive. Observe:
next to snow and ice, stone is best rendered in the stereograph. Statues
are given absolutely well, except where there is much foreshortening to
be done, as in this of the Torso, where you see the thigh is unnaturally
lengthened. See the mark on the Dying Gladiator's nose. That is where
Michel Angelo mended it. There is Hawthorne's Marble Faun, (the one
called of Praxiteles,) the Laocooen, the Apollo Belvedere, the Young
Athlete with the Strigil, the Forum, the Cloaca Maxima, the Palace of
the Caesars, the bronze Marcus Aurelius,--those wonders all the world
flocks to see,--the God of Light has multiplied them all for you, and
you have only to give a paltry fee to his servant to own in fee-simple
the best sights that earth has to show.

But look in at Pisa one moment, not for the Leaning Tower and the other
familiar objects, but for the interior of the Campo Santo, with its
holy earth, its innumerable monuments, and the fading frescoes on its
walls,--see! there are the Three Kings of Andrea Orgagna. And there hang
the broken chains that once, centuries ago, crossed the Arno,--standing
off from the wall, so that it seems as if they m