ev. 45 6 284 59 1 33 6 294 57 30 W 9 24 2 21 6 314 57 7 26 31 T 9 201 3 96 32 4 55 8 12 AN Irishman asks a Long Island woman the price of a pair of fowls, and is told,

6 7 morn

6 265

2

6 10

9

16 235

5

6 13

6 45

0 15 6 275

1

6 48

9 43 6 24 5

4

6 52

"A dollar."

7 30 10 24 6 255
8 1611 36 265 1 8 20

A LADY at Columbus, in Ohio, inquired of the
spirit-rappers how many children she had.
"Four," rapped the spirit.

The husband, startled at the accuracy of the reply, stepped up and inquired,

How many children have ?" "Two!" answered the rapping medium. The husband and wife looked at each other, with an odd smile on their faces, for a moment, and then retired non-believers. There had been a mistake made somewhere.

How do you arrive at the height of a church steeple on a hot day?-Per-spire.

0 57 6 284 59

1 396 29 4 58

2 467

ΡΙΑΝΟ-FORTES

Have taken Thirty-five First Premiums, at the Principal Fairs held in this country within the last ten years, and also were awarded a First Prize Medal at the Great International Exhibition in London, 1862, in competition with 269 Pianos from all parts of the World.

That the great superiority of these instruments is now universally conceded is proven by the FACT that Messrs. Steinways' "scales, improvements, and peculiarities of construction" have been copied by the great majority of the manufacturers of both hemispheres (AS CLOSELY AS COULD BE DONE WITHOUT INFRINGEMENT OF PATENT-RIGHTS), and that their instruments are used by the most eminent pianists of Europe and America, who prefer them for their own public and private use whenever accessible.

Every Piano is constructed with their "Patent Agraffe Arrangement" applied directly to the full iron frame.

STEINWAY & SONS direct special attention to their newly invented "UPRIGHT" Pianos, with their "PATENT RESONATOR" and DOUBLE Iron Frame, patented June 5, 1866. This invention consists in providing the instrument (in addition to the iron frame in FRONT of the soundboard) with an iron brace frame in the REAR of it, both frames being cast in ONE PIECE, thereby imparting a solidity of construction and capacity of standing in tune never before attained in that class of instrument.

The soundboard is supported between the two frames by an apparatus regulating its tension, so that the greatest possible degree of sound producing capacity is obtained and regulated to the nicest desirable point.

The great volume and exquisite quality of tone, as well as elasticity and promptness of action, of these new Upright Pianos have elicited the unqualified admiration of the musical profession and all who have heard them.

STEINWAY & SONS confidently offer these beautiful instruments to the public and invite every lover of music to call and examine them.

Letter from the Celebrated European Pianist, ALEX. DREYSCHOCK, Court Pianist to the Emperor of Russia.

ST. PETERSBURG, Sept. 29, 1865. Messrs. STEINWAY & SONS: I cannot refrain from expressing to you my undisguised admiration of your in every respect matchless Grand Pianos (which I used at my last concert in Brunswick), and I desire nothing in the world so much as to be able to perform upon one of these masterpieces here. Send me, therefore (care of Johann David Hoerle & Co. in St. Petersburg), one of your Concert Grand Pianos-of course at most moderate artist's price-and inform me, without delay, in what manner I can best remit the purchase-money to you.

Respectfully yours,

ALEXANDER DREYSCHOCK.

LONDON, England, Feb. 4, 1866. Messrs. STEINWAY & SONS: I am much pleased to see the rapid advances you are making, and the numerous certificates you have so deservedly obtained. Should my humble opinion be of any weight, you may add that I give my four hundredth Piano-forte recital, at Cheltenham, on the 10th of this month, since my arrival here; that during my four annual visits to Paris, I have used the Grand Pianos of all the first European manufacturers, but have found NO INSTRUMENT EQUAL TO THE ONE I PURCHASED OF YOU. In fact, I consider one of your finest Square Pianos equal to any one of the Grand Pianos manufactured here.

Truly yours,

WILLIE B. PAPE, Pianist to H. R. H. the Princess of Wales. STEINWAY & SONS' PIANOS are the only American instruments exported to Europe in large numbers and actually used by the great pianists in European Concert-Rooms.

Warerooms, First Floor of Steinway Hall, 71 & 73 East 14th St.

Between Fourth Avenue and Irving Place, NEW YORK.

The recent publication, by Messrs. L. PRANG & Co., of Boston, of some fine specimens of Chromo-Lithography, particularly one representing a "Group of Chickens," after Tait, which we regard as the most creditable piece of work of this class yet produced in America, has excited considerable inquiry as to hoc such work is done; we have therefore thought that a brief description of the process might not prove uninteresting to our readers.

Chrom-lithography is the art of picture-printing in colors, and, although not a very recent invention. t has been greatly modified and improved of late years; it might, with propriety, be called mechanical painting, as the colors are laid on one after another, mingling the different tints and shades until the picture is complete, in a manner analogous to painting with a brush; and, provided the men who undertake the work are skillful artists, there is no reason why a Chromolithograph should fall short, in point of expression or delicacy, of the original painting which it is designed to imitate.

A few words on ordinary lithography will first be necessary in order to give the reader a clear idea of the Chromo process. Briefly, then, a lithograph is a chemical drawing upon stone-the drawing being made with a greasy or oily ink upon the peculiar quality of limestone found in the quarries of Solenhofen, Bavaria. All other processes of engraving are mechanical rather than chemical, as in wood or type work, where the impression is obtained from a raised design, or in copper and steel plates, where the design is made by deep incisions, into which the ink is rubbed. In the lithographic process, however, there is neither relierio nor intaglio design-the operation is dependent simply upon the chemical affinity existing between the greasy matter employed in the ink and that upon the stone, and the antagonism which this matter has for water, with which the stone is in all cases dampened before pulling an impression.

In Chromo-lithography the process is identical, except that a different stone is required for every color employed, and the ink used is a species of oil color, similar to that adopted by artists for painting. The number of stones used depends upon the number of colors required, usually varying between 10 and 30, and the time necessary to prepare these stones for an elaborate piece of work extends over months, and sometimes years; but the number of colors in any given picture is not always an indication of the number of stones employed, as the colors and tints are multiplied by combination in being printed one over another; thus, in an engraving in which 25 stones are used, there may be upward of 100 different shades of color obtained by this means. The amount of labor and detail involved in drawing the different parts of the design upon so many stones is almost inconceivable to one who is uninitiated. The modus operandi is as follows:

Upon the first stone a general tint is laid, covering nearly the whole picture, and as many sheets of paper as there are to be copies of the picture are printed from it. A second stone is then prepared, embracing all the shades of some other color, and the sheets already printed with the first color are worked over this stone. A third, fourth, fifth, and sixth follow, each one repeating the process and adding some new color, advancing the picture a step further, until the requisite number of colors have been applied. The printing of so many colors, and the time required for drying each before the application of a succeeding one, involves months of careful and anxiously-watched labor. Great care and skill are required to perfect what is technically termed the "registering," or that part of the process which provides that the paper falls upon every stone in exactly the same position relatively to the outline. To attain this end, stout brass pins are fixed to a frame surrounding each stone. These pins penetrate the paper in making the first impression, and, the holes thus made being carefully placed over the pins in all subsequent impressions, insures the certainty of the outline on every stone always falling into the same position on every sheet. At last, however, it leaves the press to be sized, embossed, varnished, mounted, and framed. The embossing is that part of the operation necessary to break the glossy light and soften the hard outlines, a broken structure being given to the print by being passed through the press in contact with a roughened stone.

Of course the Chromo-lithographer, as well as the Printer, must be artists, in feeling at least, or they never can attain any degree of competency; and this requisite, combined with the necessity of long study and training is the reason why so little is done in this branch of the business in this country. We are pleased to see so much activity manifested in this direction at present, as evincing the growing interest of an art-loving community in such matters, and trust that those who devote their time and means to it will receive the energetic support they deserve. The number of successful Chromo-lithographers even in Europe is yet very limited, therefore the efforts of American houses are all the more praiseworthy, in view of the degree of perfection which has been attained in their work.

Messrs. PRANG & Co. have other works of this nature in press, and we trust they may receive the encouragement necessary to enable them to continue their labors, which have a tendency to raise the standard of art among us, and educate the taste of the masses, by placing within their reach fac similes of the finest works of the great masters in painting.-N. Y. Tribune.

The productions of Messrs. PRANG & Co. are for sale at all picture and most of the bookstores throughout the country, and we advise those desirous of ornamenting their rooms to examine these really creditable products of American Art, or get the Publishers' Catalogue to make their selection. Address L. PRANG & CO., Boston, Mass.