That our national soreness of feeling prevented us, in the case of her work on America, from appreciating the real merits of the book, will be rendered evident by the high praise we find no difficulty in bestowing upon her _Paris and the Parisians_--a production, in whatever light we regard it, precisely similar to the one with which we were so irreparably offended. It has every characteristic of the _Domestic Manners of the Americans_--from the spirit of which work, if it differs at all, the difference lies in the inferior quantity of the fine wit she has thought proper to throw away upon our Parisian friends. The volume now issued by the Harpers, is a large octavo of 410 pages, and is embellished with eleven most admirable copperplate engravings, exclusive of the frontispiece. These designs are drawn by A. Hervieu, and engraved by S. H. Gimber. We will give a brief account of them all, as the most effectual method of imparting to our readers (those who have not seen the work and for whom this notice is especially intended) a just conception of the work itself. Plate 1 is the "_Louvre_." A picture gallery is seen crowded with a motley assemblage of all classes, in every description of French costume. The occasion is an exhibition of living artists, as the world chooses to call the exhibition of their works. Poussin, (consequently) Raphael, Titian, Correggio and Rubens, are hidden beneath the efforts of more modern pencils. In the habiliments of the company who lounge through the gallery, the result of newly acquired rights is ludicrously visible. One of the most remarkable of these, says our authoress, is the privilege enjoyed by the rabble of presenting themselves dirty instead of clean before the eyes of the magnates. Accordingly, the plate shows, among a variety of pretty _toques_, _cauchoises_, _chaussures_, and other more imperial equipments, a sprinkling of round-eared caps, awkward _casquettes_, filthy _blouses_, and dingy and ragged jackets. Plate 2 is "_Morning at the Tuileries_." It represents that portion of the garden of "trim alleys" which lies in front of the group of Petus and Aria. In the distance are seen various figures. In the foreground we descry three singular-looking personages, who may be best described in the words of Mrs. Trollope herself. It was the hour when all the newspapers are in the greatest requisition; and we had the satisfaction of watching the studies of three individuals, each of whom might have sat as a model for an artist who wished to give an idea of their several peculiarities. We saw, in short, beyond the possibility of doubt, a royalist, a doctrinaire, and a republican, during the half hour we remained there, all soothing their feelings by indulging in two sous' worth of politics, each in his own line.