in general, executed with spirit and fidelity. In still another room, I found fourteen students of agricultural design. The institution is decidedly flourishing, and finds many disciples. In a large hall which I did not see, because before I had satisfied my curiosity in the other rooms, the hour of dismissal had arrived, there are no fewer than three hundred pupils of a tenderer age, who are there instructed in first principles, and in drawing separate parts of the human body. The school of Valencia has always maintained its reputation, and from time to time, has produced many great painters; among others Españoletto, Juanes, and Ribalta; and among the living painters, Lopez, and the author of “the famine in Madrid,” are both of this school. I was not a long time in Valencia before I visited the cathedral, which is a pleasing and elegant structure of Greek architecture in the interior; but in many parts of the exterior, and in some of the chapels, displaying the Gothic style. It contains abundance of fine marble; and at the back of the choir, twelve bas reliefs in alabaster, representing our Saviour’s passion, will engage for a while, the attention of the passer-by. I noticed only three good pictures; one, a descent from the cross, by Murillo, but not in his best style, “the Adoration of the Shepherds,” said to be also by Murillo; and “the Baptism of Christ,” by Juanes. In the sacristy, and in the chapter-house, there are also two or three pictures by Ribalta, and one by Juanes, of singular merit. I was also shewn some of the relics, an arm of St. Luke, one of “the Innocents,” and a picture of the Virgin, by St. Luke, who, if we are to credit the keepers of the relics in almost every church, both in Spain and in Italy, has multiplied to a great extent, these specimens of his art. The cup out of which our Saviour drank at the last supper, is too precious, and too sacred, to be gazed upon by heretical and unbelieving eyes.