asking questions which the foregoing lectures enable the scholars to reply to. The young men take notes, write them out at home, and bring these papers to Mr. COQUEREL at the next lesson. The lectures for young men take place twice a week, from October to May, and those for young ladies at different hours during the same period. The scholars are admitted to take the sacrament at Pentecost. M. COQUEREL is a most active and industrious man. Beside several volumes of sermons, and innumerable papers for different religious journals, he has published a very useful work, called '_Biographie Sacrée_,' in which every name mentioned in the Bible is to be found. His manner is very animated; and as each lecture lasts but an hour, it is impossible that the attention of the young hearers should become weary.... 'APRIL 19th. Went to the exhibition of paintings by living artists, which is now open at the Louvre. The most beautiful picture there, is one by M. COGNIET; 'TINTORETTO painting his dead Daughter.' The biographers of the great master inform us, that he had a daughter who evinced great talent for painting, to whom he was devotedly attached, but who died when young. M. COGNIET has chosen the moment when TINTORETTO, rising from his easel, on which rests the unfinished portrait, stands gazing on his beloved daughter, who is lying on a bed in the fore-ground of the picture. The father is almost _de face_, but the lower part of his figure is concealed by the bed. A crimson curtain falls behind him, and forms a rich but not gaudy back-ground to the picture and, by throwing a slight reflection on the daughter's face, relieves the whole from that disagreeable effect, which, with less judgment and good taste on the part of the artist, it must have produced, without taking from it the solemnity which the subject required. This is, on the whole, almost the only picture of the modern French school which pleases me entirely; in which there is no exaggeration of expression or gesture, and which deserves to be compared to those of the modern school of painting in Germany. I have no doubt that the circumstance of an exhibition taking place every year is a great disadvantage to young artists, who hurry to finish a picture for that occasion, in order that their names may be mentioned in the journals, and that they may obtain a celebrity which lasts but a few weeks. If the exhibition took place but once in five years, I am convinced we should see more fine pictures at the Louvre. Among the portraits I remarked one of Major POUSSIN, who resided for so many years in the United States. It is painted by Mademoiselle GODEFROID, a pupil of GERARD, and is a very good likeness. I was struck by a portrait of M'lle de FAUVEAU. This lady is of a noble family of Brittany, and is well known for her devotion to the cause of the DUCHESS DE BERRI, and for the talent she has displayed in the art of sculpture. She is neither young nor handsome; she is dressed in the costume of a