M. Alexandre, the noted ventriloquist, had an extraordinary facility in counterfeiting the faces of other people. At Abbotsford, during a visit there, he actually sat to a sculptor five times in the character of a noted clergyman, with whose real features the sculptor was well acquainted. When the sittings were closed and the bust modelled, the mimic cast off his wig and assumed dress, and appeared with his own natural countenance, to the terror almost of the sculptor, and to the great amusement of Sir Walter Scott and others who had been in the secret. Of this most celebrated ventriloquist it is related that on one occasion he was passing along the Strand, when a friend desired a specimen of his abilities. At this instant a load of hay was passing along near Temple Bar, when Alexandre called attention to the suffocating cries of a man in the centre of the hay. A crowd gathered round and stopped the astonished carter, and demanded why he was carrying a fellow-creature in his hay. The complaints and cries of the smothered man now became painful, and there was every reason to believe that he was dying. The crowd, regardless of the stoppage to the traffic, instantly proceeded to unload the hay into the street. The smothered voice urged them to make haste; but the feelings of the people may be imagined when the cart was empty and nobody was found, while Alexandre and his friend walked off laughing at the unexpected results of their trick. The individual who wishes to know anything about this wonderful art must learn to distinguish distances, and be able, by giving the proper pitch to the voice, to make it reach exactly to the point indicated. He must also know that the attention of the audience should be directed either by the eyes or a gesture of the hand to the spot whence the voice is supposed to issue. In order to cover the features of any modern ventriloquial entertainment, I will here give the rules for the two voices required, with an example of the dialogue in each case. VOICE I.