A complete treatise on this beautiful art, in which typography and illustrations are alike perfect. The directions given are ample and accurate. The contents are: Chap. 1. Anatomy of a Leaf; Green and Dried Leaves. 2. Preparing the Leaves and Flowers. 3. Bleaching the Leaves and Seed Vessels. 4. Arranging the Bouquets. 5. Illustrated List of Plants for Skeletonizing. 6. Seed Vessels. 7. The Wonders and Uses Of a Leaf. 8. Leaf Printing. 9, Commercial Value of the Art; Preservation of Flowers. We have accurate cuts of the skeletonized leaves of the American Swamp Magnolia, Silver Poplar, Aspen Poplar, Tulip Poplar, Norway Maple, Linden and Weeping Willow, European Sycamore, English Ash, Everlasting Pea, Elm, Deutzia, Beech, Hickory, Chestnut, Dwarf Pear, Sassafras, Althea, Rose, Fringe Tree, Dutchman's Pipe, Ivy and Holly, with proper times of gathering and individual processes of manipulation for securing success with each. 'Fanciful though expressive,' says our author, 'is the appellation of 'Phantom' or 'Spiritual' Flowers; it was given to the first American specimens by those who produced them, and it has since become so general as to be everywhere understood and accepted as their most appropriate name. Referring to the process by which these flowers are prepared, a Christian friend beautifully used them as emblems of the Resurrection, and as illustrating the ideas--'Sown a natural body, raised a spiritual body,' and, 'This corruptible must put on incorruption, and this mortal immortality.'' All who practise this beautiful and _lucrative_ art with any hope of success, should purchase 'Phantom Flowers,' the result of _five years'_ industrious and intelligent effort. POEMS: With Translations from the German of Geibel and Others. By _Lucy Hamilton Hooper_. Philadelphia: Frederick Leypoldt. These translations are of far more than ordinary merit. From his exceeding and tender simplicity, Geibel is very difficult to render aright: a word too much will frequently ruin the stanza in which it may have been introduced almost necessarily to fill up the rhythm or consummate the rhyme; a single injudicious ornament will spoil the whole effect of the cadenced emotions of which his poems consist. We have tried Geibel, and the songs of Heine, and know the difficulties; we heartily congratulate our authoress on her success. Nor are her own poems less beautiful. Musically rhythmed, delicately worded, and purely felt, they commend themselves to the reader. They do not soar into the region of abstract thought; they are without pretension, mysticism, or effort. She challenges no crown, her range is limited, but our hearts swell and throb with the emotions she sings. A single specimen will best elucidate our meaning: BABY LILY. She was a purer, fairer bud Than summer's sun uncloses; Spring brought her with the violets; She left us with the roses.