The second volume is the reproduction of Codices B and D; the former of these is generally regarded as the gem of the whole collection, on account of the beauty, energy, elegance, and variety of the sketches which illustrate it, whilst the latter seems to be a corrected or revised copy of one of the chapters in Leonardo da Vinci’s treatise on painting, a treatise in which some curious and valuable remarks on optics serve as an introduction to the author’s lecture (if we may so say) on perspective. Nothing but the actual inspection of this magnificent folio can give the slightest idea of the artistic finish which characterises it, and of the extreme variety of its contents. From considerations on morality, on the soul, and on the spiritual world, Leonardo da Vinci goes on to examine questions on architecture, sculpture, agriculture, roads, draining, &c. &c., he discusses the possibility of aerial locomotion, describes the systems of warfare adopted by the ancients, dwells at some length on the properties of steam, and explains the theory of the camera-obscura. The _fac-similes_ are 188 in number; a very complete alphabetical index, preceded by the errata of the two first volumes, terminates this second instalment. Before bringing to a close this very imperfect notice we must mention a _brochure_ recently published containing, first, an article by M. Courajod on a marble bust of Beatrice d’Este, preserved at the museum of the Louvre, and which, if not the work of Leonardo da Vinci, was certainly executed by one of his pupils; secondly, an essay by M. Ravaisson-Mollien on the great artist’s botanical knowledge, together with a letter of M. Fillon treating of the same subject. Let us, in conclusion, pay a just tribute of praise to the liberality with which M. Quantin, the publisher, has facilitated the production of this splendid monument raised to the memory of Leonardo da Vinci. IN _English Etchings_, Part xl. (D. Bogue, 3, St. Martin’s-place), we have another of those beautifully executed “bits” of “Old London” which are worth preserving, before they are swept away to make room for “improvements.” The spot represented is that portion of Lower Thames-street opposite Billingsgate. The church of St. Magnus, close by London-bridge, forms the centre of the picture. This is one of Wren’s churches, and was built in 1676, the old church, which was founded at the beginning of the fourteenth century, having been destroyed in the Great Fire of 1666. The etching is the work of Mr. Frank J. Short, and is most effective in its treatment. [Illustration: text decoration] Obituary Memoirs. “Emori nolo; sed me esse mortuum nihil æstimo.”--_Epicharmus._