IBITORS-"ARTISTS"-CURIOSITI

EXHI

sed to be a regular institution in church baza

artist appended. In some instances the name of a (supposed) picture is followed by an appropriate quotation in poetry or prose, after the orthodox fashion of art gal

. WORK

l. T. Inman. 13. Family Jars. Potter. 14. Never Too Late to Mend. S. Titch. 15. Past Healing. Kobler. 16. The First Sorrow. Smalchild. 17. Saved. S. Kinflint 18. Lost 19. First Love. Sweet. 20. The Death of the Camel. After Goodall. 21. His First Cigar. A. Young. 22. A Good Fellow Gone. M. I. Slade. 23. Portrait of a Gentleman. Anonymous. 24. Portrait of a Lady. Anonymous. 25. Our Churchwardens. Screw. 26. Portraits of the Reigning Sovereigns of Europe. (Taken b

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r. 42. Maggie's Secret. Rossetter. 43. Somebody's Luggage. S. Canty. 44. Eusebius. B. Linkers. 45. Happy Childhood. Wackford Squeers. 46. Not Such a Fool as He Looks. The Exhibitor. 47. A Choice Collection of Old China. 48. A Fine Specimen of Lo

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ring at large about the room; and he adds an entreaty that any lady or gentleman who may meet with him will immediately return him to his place in the collection. "The Dripping Well" (No. 12) proves to be of the description more usually known as a dripping-pan. "Family Jars," by Potter, is found to consist of a pickle jar and jam pot. No. 14, "Never Too Late to Mend," is a boot patched all over; while 15, "Past Healing," is its fellow, too far gone to admit of like renovation. "The First Sorrow" is a broken doll. "Saved" is a money box, containing twopence halfpenny, mostly in farthings. The next is a vacant space, over which the exhibitor passes with the casual remark, "No. 18, as you will observe, is unfortunately lost." No. 19, "First Love," is a piece of taffy. 20, "The Death of the Camel," is a straw, labeled "the last," and the exhibitor explains that this is the identical straw that broke the camel's back. "His First Cigar" is a mild Havana of brown paper. "A Good Fellow Gone" is suggested, rather than represented, by an odd glove. Nos. 23 and 24 are represented by two small mirrors, which are handed to a lady and a gentleman respectively, with a few appropriate remarks as to the extreme success of the likenesses, coupled with critical remarks as to the "expression" in each case. "Our Churchwardens" are a pair of long clay pipes. No. 26, "Portraits of the Reigning Sovereigns of Europe," are represented by a few cancelled foreign postage stamps. "The Monsters of the Deep," in No. 27, are represented by a periwinkle and a shrimp. "The Last Man" (No. 28), is at present missing from his place in the collection, but the exhibitor explains that he will be seen going out just as the exhibition closes. The "Contribution from the Sheepshanks Collection" (29), is a couple of mutton bones; while "The Light of Other Days" (30) is an old-fashioned lantern and tinder box. "The Meet (meat) of Her Maj

celebrated lecture is an excellent model to copy; indeed, many of his "bits" may be stolen bodily with very satisfactory result. Even without the aid of a showman, the comparison of the poetical descriptions and t