"The facial expression of each of the many figures is so true that it indicates the feelings and almost the thoughts of the person represented; there is remarkable individuality and surprising animation. I was forcibly struck with the inimitable perspective of the buildings and the entire landscape with which they are associated. Practically speaking, the buildings are of very perfect Roman architecture; there is, however, a pleasing venture manifested, where the artist has presented a little of the Greek work with here and there a trace of Egyptian, and perhaps of the Byzantine. These make a pleasing anachronism, such as Shakespeare at times introduced into his plays: a venture defended by Dr. Samuel Johnson, as well as other distinguished critics. The trees are done with an almost photographic truth and exactness. After a somewhat extended and critical examination of things of this kind in various parts of Europe, I do not hesitate to say that I have seen nothing of the kind that excels the work you have. What is quite remarkable about it, and more than all exhibits its truth to nature, it seems to challenge decision whether it shows to best advantage in strong daylight or twilight, by artificial light or that of the sun; an effect always present in nature, but not often well produced on paper or canvas. The successful venture to use so light a groundwork was much like that of Rubens, where he used a white sheet in his great painting, 'The Descent from the Cross.'" Since the above description was written, this incomparable paper has passed into the hands of Mrs. Franklin R. Webber, 2nd, of Boston, who will either frame it, or in some other way preserve it as perfectly as possible. The remarkable paper shown in Plate XLI and the three following plates were sent me by Miss Janet A. Lathrop of Stockport-on-Hudson, New York. It is certainly one of the finest of the scenic papers still in existence. The scene is oriental, the costumes seeming both Turkish and Chinese. Temples and pagodas, a procession, a barge on the river and a gathering in a tea-house follow in succession about the room. All are printed by hand on rice paper, in gray tones. The paper is browned with age, but was cleaned and restored about a year ago and is exceedingly well preserved.