negro had on a cloak, (poncho apala,) with
violet stripes; the Indian, one of the same
kind, striped with yellow: both of them have
sores,—one healed, the other not. Whoever
will deliver them up, at No. 235, in the Street
of Piety, (en la Calle de la Piedad,) will be
rewarded"—in the street of Piety.

From the Street of Piety, the next step
naturally is to Religion,—or, at least, to its
forms and ceremonies. We see the vignette
of an altar-table, covered with a fair cloth,
whereon stand a crucifix, and a pair of long
waxen tapers, in full blaze, a holy-water pot,
and a sprinkling-brush, are placed beside the
table, beneath which is spread a handsome
carpet. So much for the emblem; now for
the text:

"Doña Agustina Lopez de Rosas, the
citizens Don Prudencio and Don Gervacio Ortiz
de Rosas, and others, brothers, wife, and sons
of the deceased Don Leon Ortiz de Rosas,
(Q. E. P. D.) invite those gentlemen who, by
accident, have not received notes of invitation,
to accompany them to pray to God for mercy
on the soul of the aforesaid deceased, in the
Cathedral Church, at ten o'clock of the 20th
of March current, by which they will feel
under infinite obligation."

The next is a more than half-obliterated
impression of an image of the sun, partly
obscured by clouds, with the obligato crucifix in
the midst, headed "Ave Maria":—it is the
third advertisement, (tercer aviso,) and is
addressed by the Superiors (Mayordomos) of the
most Holy Rosary to all faithful and devout
sons of the most holy Mary.

The text of this address we need not give;
the substance will be sufficient. It tells the
history of the completion of the two naves
and other parts of the church of the Patriarch
San Domingo, which have been painted,
whitewashed, and otherwise decorated, in the sight
of all the faithful, (à la vista de todos los
fieles,) and—to make a long story short—
money is wanted to make it what the priests
wish it, and therefore the superiors intend
to stand daily in the chief porch to receive
subscriptions, the smallest sums being—as in
England, and everywhere else—most
gratefully received.

The mortuary advertisements are not
absolutely a transition "from praying to purse-
taking;" only a variety of the same general
mode of dealing. We select two of these:—
In the first, we behold a lady in the full-dress
evening costume of the Empire, with a very
short waist, and very little drapery above it,
leaning pensively against a funereal
monument; an embroidered pocket-handkerchief
being placed beneath one elbow, to protect it
from the cold marble; in her left hand she
carries a substantial wooden cross, which is
held so as to fall over the shoulder; a weeping
willow on the opposite side to the mourning
lady balances the composition. Below the
picture is the announcement that "Funereal
letters (Esquelas de Funerales) of every tasteful
description, engraved as well as
lithographic, and at a very moderate price, are
to be obtained at the printing-office of the
Mercantile Gazette, in the street of Cangallo,
No. 75, where designs of all kinds may be
seen." The second is more sombre in outward
show, but less applicable to the general
business of the advertiser. It is headed,
"Interesting to all whom it may concern"
(Interesante à quienes conguenga). We have
here a very black tree, a very black
tombstone, and a very black sky; the outline of
the two former relieved by gleams of light
from a very full moon; and having gazed our
fill on these melancholy objects, are told that
—"In the street of Victory, at No. 63½, at
all hours of the day, an individual is to be
met with who undertakes to supply every
description of cards or notes of invitation,
whether for funerals or any other kind of
entertainment; he undertakes at the same
time to serve those gentlemen who may
honour him with their orders, with the very
best goods, &c.," after the approved fashion
of advertisers all over the globe.

Natural history affords the Buenos-Ayreans
great scope for their artistical genius. Don
Federico Costa announces a grand spectacle
of wild beasts; and that there may be no
mistake about what he has to show, he
heralds his collection with the full-length
portrait of an Uran-utan (Orangutan), which
he describes as a native of Africa. This
interesting animal is seated on a bank, with
a large stick in one hand, looking over his
shoulder, and displays an endless amount of
fingers and toes; the greater the number,
the nearer, in Don Federico's opinion, the
creature's approach to humanity. There is
a wonderful bit of shadow, thrown from one
of the Uran-utan's legs, which puts one in
mind of the footprint that so startled
Robinson Crusoe; and, indeed, the general
appearance of the animal is not unlike some of the
earlier portraits of that renowned mariner,
only nature has done for the Uran-utan what
art and goat-skins accomplished for the solitary
of Juan Fernandez.

The moral attributes of Don Federico's
pet are strongly insisted upon in the
advertisement,—his excellent disposition, the
ingenuity of his mind, and (included in "la
moral") the surprising dexterity with which
he scoops out the contents of a cocoa-nut "in
a manner most pleasing (muy agradáble) to
the beholders." His companions in captivity
are porcupines, tiger-cats, ounces, armadillos,
and a number of animals bearing local names,
besides divers snakes of different colours, two
thousand well-preserved insects, and, finally,
(por último,) a collection of antiquities from
Mexico. The price of admission is two
reales—the universal shilling; and children,
in Buenos Ayres, as in London, are admitted
for half-price.

A livelier turtle than that which is figured
for the edification of the gourmands who