The Boston Post Office, of whose migrations I have spoken earlier, is now settled for good and all in a magnificent structure of Cape Ann granite, built in Renaissance style, whose corner-stone was laid in 1871 and which was just ready for the addition of the roof when the Great Fire of 1872 descended upon it and beat upon it so fiercely that even to-day the traces of the intense heat are visible on parts of the edifice. Damage to the amount of $175,000 was done. The Sub-Treasury, the United States courts, the pension and internal revenue offices are domiciled here, and it is considered the handsomest public building in all New England, having cost $6,000,000. The interior furnishings are sumptuous in the extreme, the doors and windows in the Sub-Treasury apartments being of solid mahogany, beautifully polished. The "marble cash-room" is a splendid hall, decorated in Greek style, with wall-slabbing of dark and light shades of Sienna marble and graceful pilasters of Sicilian marble. The City Hall, on School street, is the seat of the municipal housekeeping. Here the departments of streets, water, lighting, police, and public printing have their offices, and Common Council sits in august assemblage. It is a commanding structure of granite, fireproof, and in the Renaissance style. Its cost was $500,000. Two fine bronze statues, one by Greenough, of Franklin, one by Ball, of Josiah Quincy, ornament the grassy square in front of the building. No picture of Boston would be complete without that old landmark, Tremont Temple. It occupies the former site of the Tremont Theatre and contains one of the largest halls in the city. The building itself, however, sinks into insignificance before the crowd of associations that stir the blood at its very name. For years it has been the rallying point of Boston's most notable gatherings--political, intellectual, and religious. If, instead of colorless words, we could photograph upon this page the pictures those old walls have looked upon, we might revel in a gallery of famous portraits such as the world has rarely seen. Edward Everett, Wendell Phillips, William Lloyd Garrison, Joseph Cook, Phillips Brooks, and other master-spirits of the age, would be there. And there, too, would be a sprinkling of that other sex, no longer handicapped by the epithet "gentler." But, could we press the phonograph as well as the camera into our service, and hear again the thunders of stormy oratory, the clash of political warfare, and the pleading tenderness of religious eloquence that has often resounded under that old roof, then indeed we might well forget the world of to-day in the fascination of this drama of the past.