this before us, which, at this season, must make thousands of children happy by as many firesides! The inner life of all these people is represented: Leech draws them as naturally as Teniers depicts Dutch boors, or Morland pigs and stables. It is your house and mine: we are looking at everybody's family circle. Our boys coming from school give themselves such airs, the young scapegraces! our girls, going to parties, are so tricked out by fond mammas—a social history of London in the middle of the nineteenth century. As such, future students—lucky they to have a book so pleasant—will regard these pages: even the mutations of fashion they may follow here if they be so inclined. Mr. Leech has as fine an eye for tailory and millinery as for horse-flesh. How they change those cloaks and bonnets. How we have to pay milliners' bills from year to year! Where are those prodigious chatelaines of 1850 which no lady could be without? Where those charming waistcoats, those "stunning" waistcoats, which our young girls used to wear a few brief seasons back, and which cause 'Gus, in the sweet little sketch of "La Mode," to ask Ellen for her tailor's address. 'Gus is a young warrior by this time, very likely facing the enemy at Inkerman; and pretty Ellen, and that love of a sister of hers, are married and happy, let us hope, superintending one of those delightful nursery scenes which our artist depicts with such tender humor. Fortunate artist, indeed! You see he must have been bred at a good public school; that he has ridden many a good horse in his day; paid, no doubt, out of his own purse for the originals of some of those lovely caps and bonnets; and watched paternally the ways, smiles, frolics, and slumbers of his favorite little people.

As you look at the drawings, secrets come out of them,—private jokes, as it were, imparted to you by the author for your special delectation. How remarkably, for instance, has Mr. Leech observed the hair-dressers of the present age! Look at "Mr. Tongs," whom that hideous old bald woman, who ties on her bonnet at the glass, informs that "she has used the whole bottle of Balm of California, but her hair comes off yet." You can see the bear's-grease not only on Tongs's head but on his hands, which he is clapping clammily together. Remark him who is telling his client "there is cholera in the hair;" and that lucky rogue whom the young lady bids to cut off "a long thick piece"—for somebody, doubtless. All these men are different, and delightfully natural and absurd. Why should hair-dressing be an absurd profession?

The amateur will remark what an excellent part hands play in Mr. Leech's pieces: his admirable actors use them with perfect naturalness. Look at Betty, putting the urn down; at cook, laying her hands on the kitchen table, whilst her policeman grumbles at the cold meat. They are cook's and housemaid's hands without mistake, and not without a certain beauty too. The bald old lady, who is tying her bonnet at Tongs's, has hands which you see are trembling. Watch the fingers of the two old harridans who are talking scandal: for what long years past they have pointed out holes in their neighbors' dresses and mud on their flounces. "Here's a go! I've lost my diamond ring." As the dustman utters this pathetic cry, and looks at his hand, you burst out laughing. These are among the little points of humor. One could indicate hundreds of such as one turns over the pleasant pages.

There is a little snob or gent, whom we all of us know, who wears little tufts on his little chin, outrageous pins and pantaloons, smokes cigars on tobacconists' counters, sucks his cane in the streets, struts about with Mrs. Snob and the baby (Mrs. S. an immense woman, whom Snob nevertheless bullies), who is a favorite abomination of Leech, and pursued by that savage humorist into a thousand of his haunts. There he is, choosing waistcoats at the tailor's—such waistcoats! Yonder he is giving a shilling to the sweeper who calls him "Capting;" now he is offering a paletot to a huge giant who is going