admiration, and end by pinning appropriate poems on the twigs for later comers to peruse. Fleeting as the flowers are in fact, they live forever in fancy. For they constitute one of the commonest motifs of both painting and poetry. A branch just breaking into bloom seen against the sunrise sky, or a bough bending its blossoms to the bosom of a stream, is subject enough for their greatest masters, who thus wed, as it were, two arts in one,--the spirit of poesy with pictorial form. This plum-tree is but a blossom. Precocious harbinger of a host of flowers, its gay heralding over, it vanishes not to be recalled, for it bears no edible fruit. The next event in the series might fairly be called phenomenal. Early in April takes place what is perhaps as superb a sight as anything in this world, the blossoming of the cherry-trees. Indeed, it is not easy to do the thing justice in description. If the plum invited admiration, the cherry commands it; for to see the sakura in flower for the first time is to experience a new sensation. Familiar as a man may be with cherry blossoms at home, the sight there bursts upon him with the dazzling effect of a revelation. Such is the profusion of flowers that the tree seems to have turned into a living mass of rosy light. No leaves break the brilliance. The snowy-pink petals drape the branches entirely, yet so delicately, one deems it all a veil donned for the tree's nuptials with the spring. For nothing could more completely personify the spirit of the spring-time. You can almost fancy it some dryad decked for her bridal, in maidenly day-dreaming too lovely to last. For like the plum the cherry fails in its fruit to fulfil the promise of its flower.