The Astor House was the first of the large hotels on Broadway; and its erection marks a new era in that favorite kind of enterprise and entertainment of which Bunker's Mansion House was so long the comfortable, respectable, and home-like ideal. Yet it is noteworthy that inns rarely have or keep a representative character with us, but blend popularity with fashion, as nowhere else. One may be associated with Rebeldom, another with trade; this be frequented by Eastern, and that by Western travellers; and nationalities may be identified with certain resorts. But the tendency is towards the eclectic and homogeneous; individuality not less than domesticity is trenched upon and fused in these extravagant caravanseries; and there is no fact more characteristic of the material luxury and gregarious standard of New York life, than that the only temple erected to her patron saint is a marble tavern! Broadway has always had its eccentric or notable _habitues_. The Muse of Halleck, in her palmy days, immortalized not a few; and many persons still recall the "crazy poet Clarke," the "Lime-Kiln man," the courteous and venerable Toussaint,--New York's best "image of God carved in ebony,"--tall "gentleman George" Barrett, and a host of "familiar faces" associated with local fame or social traits. The representative clergy, physicians, lawyers, merchants, editors, politicians, bards, and beauties, "men about town," and actors, were there identified, saluted, and observed; and of all these, few seemed so appropriately there as the last; for often there was and is a melodramatic aspect and association in the scene, and Burton, Placide, or the elder Wallack walked there with a kind of professional self-complacency. Thackeray, who had a quick and trained eye for the characteristic in cities, delighted in Broadway, for its cheerful variety, its perpetual "comedy of life"; the significance whereof is only more apparent to the sympathetic observer, because now and then through the eager throng glides the funeral car to the sound of muffled drums, the "Black Maria" with its convict load, or the curtained hospital litter with its dumb and maimed burden. And then, to the practised frequenter, how, one by one, endeared figures and faces disappear from that diurnal stage! It seems but yesterday since we met there Dr. Francis's cheering salutation, or listened to Dr. Bethune's and Fenno Hoffman's genial and John Stephens's truthful talk,--watched General Scott's stalwart form, Dr. Kane's lithe frame, Cooper's self-reliant step, Peter Parley's juvenile cheerfulness,--and grasped Henry Inman's cordial hand, or listened to Irving's humorous reminiscence, and met the benign smile of dear old Clement Moore. As to fairer faces and more delicate shapes,--to encounter which was the crowning joy of our promenade,--and "cheeks grown holy with the lapse of years," memory holds them too sacred for comment. "Passing away" is the