of a carpenter and less of a mason. The Rose-Breasted Grosbeak, which Audubon places so high on his list of minstrels, comes annually to one region in this vicinity, but I am not sure of having heard it. The young Pine Grosbeaks come to our woods in winter, and have then but a subdued twitter. Every one knows the Bobolink; and almost all recognize the Oriole, by sight at least, even if unfamiliar with all the notes of his cheery and resounding song. The Red-Eyed Flycatcher, heard even more constantly, is less generally identified by name; but his note sounds all day among the elms of our streets, and seems a sort of piano-adaptation, popularized for the million, of the rich notes of the Thrushes. He is not mentioned by Audubon among his favorites, and has no right to complain of the exclusion. Yet the birds which most endear summer are not necessarily the finest performers; and certainly there is none whose note I could spare less easily than the little Chipping-Sparrow, called hereabouts the Hair-Bird. To lie half-awake on a warm morning in June, and hear that soft insect-like chirp draw in and out with long melodious pulsations, like the rising and falling of the human breath, condenses for my ear the whole luxury of summer. Later in the day, among the multiplicity of noises, the chirping becomes louder and more detached, losing that faint and dream-like thrill. The bird-notes which have the most familiar fascination are perhaps simply those most intimately associated with other rural things. This applies especially to the earliest spring songsters. Listening to these delicious prophets upon some of those still and moist days which slip in between the rough winds of March and fill our lives for a moment with anticipated delights, it has seemed to me that their varied notes were sent to symbolize all the different elements of spring association. The Blue-Bird seems to represent simply spring's faint, tremulous, liquid sweetness, the Song-Sparrow its changing pulsations of more positive and varied joy, and the Robin its cheery and superabundant vitality. The later birds of the season, suggesting no such fine-drawn sensations, yet identify themselves with their chosen haunts, so that we cannot think of the one without the other. In the meadows, we hear the languid and tender drawl of the Meadow-Lark,--one of the most peculiar of notes, almost amounting to affectation in its excess of laborious sweetness. When we reach the thickets and wooded streams, there is no affectation in the Maryland Yellow-Throat, that little restless busybody, with his eternal _which-is-it, which-is-it, which-is-it_, emphasizing each syllable at will, in despair of response. Passing into the loftier woods, we find them resounding with the loud proclamation of the Golden-Crowned Thrush,--_scheat, scheat, scheat, scheat_,--rising and growing louder in a vigorous way that rather suggests some great Woodpecker than such a tiny thing. And penetrating to some yet lonelier