THE DAILY EVHN1N0 TE LVAl R A P 1 1 Pill LA DE L1MI I A , THURSDAY, A1MUL 8, 18l:. 3 -rcl Art llrfbrc Iericlrt. Th London Saturday Review has the follow ing notloe of new work by M. Bjntfi, Secre tary of the Aoacleray des Bean x Arts, entitled Hiiloire de I'Art Gred Avant Pericles: j "M. Baulo combines the learning of the antlqnarj with the eloqnenoe of the rhetrM clan. The materials at his command are fojll. His treatment has the reoommeniation 'of being strictly logical, yet highly imaginative. Lis literary style is marked by the rapid dsh and the proverbial brillianoe of the Frenoh; and thru, as in Madame de StacTs rhapsodies npon Rome, hUtory reads in the pages of t&U volume like a romance, and antiquarian dis sertations glow with tlie color of a piotnre. M. Bul; has worked hard under rare advan tages; he has been a sojourner under the shadow of the Acropolis in Athens; the Grek temples which he describes he has seen. L'Acropole d' Atiine, "published under the auspices of the Minister of 1'ublio Instruc tion,' 1b among the fruits of those original researches in Oreeoe which, conducted under the ausploes of the Frenoh Government, helped the writer to celebrity. M. Bxul6, ''BeoiC'tairePerpctnel de 1' Aoad6mie;des Beaux Arts, President de l'Aoadcinie- dea Inscrip tions et Belles-lettres," and one of the writers in Le Journal des Havana, may be traced through some half-dozen volumes whioh treat of divers themes in the classic, middle age, and modern arts, till lastly we come upon the volume before us, which certainly is calcu lated to BUBtain if not to augment the writer's well-earned reputation. ' M. Beu!6 naturally commences by an .in quiry into the origin of Greek art. tile believes, in common with the b3t authorities, that it took its historic rise in the East, and yet, though thus in its first rudiments bor rowed, he holds that it was essentially self originated. European art, at any rate, com mences with the Greeks. The monuments of India and China are fantastio, the palaoes of Assyria vast and astounding, the temples and tombs of Egypt grandly immobile in its tlie ooraoy. These national arts, as the civiliza tions whenoe they sprang, became dead letiters and desolate tracks of grand sterility. .The Greeks seized upon what they found among other nations to be most artistio and enduring. And thus, in creating or perfecting the .Doric and Ionio orders, they set their seal of beauty upon the oommon patrimony of autiqdity. Yet perhaps it will never be possible to solve completely the phenomenon of perfection whioh Greek art presents: "Ni la question de raoe, nl la question de olimat, ni la ra-ison politique, ne peuvent expliquer par quel dlvin privilege les Grecs ont eu cet esprit de olartG," eto. "Les grands peoples," adds M. ' Beulc, "ne 8'ezpliquent pas plus que. les grands homines." Architecture is the mother and instructress of the arts, she comes first in order of time, she inspires and she direots. This is the uni versal law whioh presides over all great epochs. Hence in Greeoe, where all the pro ducts of the human mind have observed a natural and looal sequence in development, architecture bb the parent art gives birth, and affords shelter and sustenance, to her younger colons, sculpture and painting. Tuns each art came upon the scene in its appointed century. Bv the see of Pisistratus architecture had well nigh attained perfection; in the age of Peiioles soulptnre advanoed to take a station by her side; but not till the reign of Alexan der did painting, the latest born and long under tutelage to the Dorio and Ionio orders, assert an independent life. Yet construction was nothing higher than a mechanical prooess while it provided merely for the necessities of the body; it became an art only when it minis tered to the desires of the mind. And just in proportion as the arts are removed from service to bodily necessities, into the region of ideas and of the imagination, do they cease .to be purely naturalistic or imitative. Sculpture and painting are usually aocounted imitative arts; but architecture, like music, is less imitative than creative; and each seem easen ' tiaily to rest in nnmerlo ratios and geometrio proportions. Such ratios and proportions at all events lie apparently at the basis of Greek architecture, and of its associated arts of Bculpture, bas relief, and mural painting. It is this subjeotion to law whioh makes Greek art unchangeably true and beautiful: it is t growth permitted only within the limits of law, which secures to Greek art a progression unbroken by lawless overthrow. Absolute truth led to perfect beauty a truth so ab stract as to be without aocident, a beauty so ideal as to be without blemish, Truth abso lute implies breadth, simplicity, repose; accordingly, in Greek art resides suoh repose that even in motion there is rest, such se renity that not even passion is permitted to mar supreme beauty. Yet we must not for get that the sculpture galleries of Europe, in cluding the British Museum, the Vatican, the Museums of Naples, Munich, etc., prove that 1 Greek art was many-sided, and that the architects and sonlptors of Athens, iEgina, Asia Minor, etc., could do any thing and everything, and actually did what pleased them best. Thus of painting it was said there existed three styles that Dlo nyslus painted men as they were, that Pauson painted them worse than they were, and that Polygnotus painted them better than they were. The first would correspond to a natur alistic the second to a comio or saUrioaL the third to an ideal manner, and it Is certain that all three are to be found in Greek plastio and fiotile art. In the Museo Gregoriano of the Vatioan we recall vajes with comio rnoidents Diluted thereon. In the British Museum we have within more immediate reach the mar blea of the Parthenon, as the most perfeot ex amples of the union of a naturalism which was noble with an idealism whick waa vigorous. Within the limits of our observation, Greek art tends to infinite variety, yet preserves Violate nnitv. Greek art maintained bPP7 mean and nni a wholesome moderation; tradition rd it in an obedience without servility, and made liberty Bafe in proteoMon against license. M. Beu!6 seeks to cousojiciaie irrai tion into a law the lj of ft ear aud stead fast progression, The Greeks "took posses sion of the patrimony of the paBt, and pro fited by the experience of the generations by which they were preceded." Tradition was for them accumulated wisdom and aggregated . beauty; it was as an ample river which aug ments in volume as it Hows, and which tra verses lands the most diverse without break in its oourse or ohange iu i'S identity. It ii the want of this wise tradition whioh leaves modern ait in anarchy; modern artists rest lessly seek for Bomethlug new the last and hopeless state of a mind frivolous and unstable in all its wayB. The aim of the Greek artist, on the contrary, was to make h!a work perfect; he did not Btrlve even at originality, be labored according to the know ledge gained and the ability given, and if per chance be did better than his predecessors, those who came after profited by his example. Thus art, while alwaje following in the , Mjn, track, made a step forward, and tradition be came not a law of lluality, bat a coniitlon , of Dronrees. Neither in nature nor in art are there abrupt transitions. Tue Drio order was not at a single stroke fid in its symmetry and nnlty by the effort of any one man; und.r fiT- la-of tradition it bad a pradaol growth. from contradiottdn, have sufficiently sure bts toric foundation. Concerning polyohromeM. Beul truly atates that there have been three distinot theories. The first denies to Greek architecture and Bculpture oolor altogether; the aeoond acoord color without Btint; while the third, as a happy mean between the two extremes, suggests that color may have been modified and mitigated according to the exigencies of material cli mate and use. We think it can be affirmed that the first and the second of these proposi tions must be surrendered as untenable. Thus the muoh debated practice of polychrome is re duced to a question of dgree, relation, and circumstance. M. Beu!u believes that Greek systems passed through successive stagos, and were under continuous transformation. Thus he refers the historic origin of polychrome back to primal wood structures. Matble tem ples took their first types from prior wooden labrics, and the copyirtg of the form natur ally involved the adoption of the color. Thus the earliest practice of polychrome arose in the obvious utility of pre serving a perishable material, and disguising a snrtaoe not in itself necessarily orna mental. From this probable ooujeoture we gladly draw the broad conclusion that this earliest polychrome, transcribed servilely from rude wooden structures, was somewhat orude and barbarous; while in more advanced epochs the tones became refined, dolioate, and transparent. One reason, at all events, held equally good for the painting of wood and stone: when the stone was poor and perish able, it needed, no less than wood, protection or decoration. Greek architects, indeed, seem to have done pretty muoh as the middle-age builders; when the masonry was rotten, they disguised blemishes by a coating of stucoe or planter. The reasoning, of course, tells en tirely the other way when the material is in itself lovely, and the lines of con struction and masonry good in art; then the more Been the better. It certainly would strike us as barbarous in taste, and altogether suicidal in art, to hide or disfigure with plaster or opaque paint the (clear crystal and the translucent texture of Pentelious marble. As Boon could we believe that a lady of a com plexion bright in the bloom of youth would betake herself to Rachel enamel. M Beulu, however, is evidently of opinion that a suspi cion of rouge may heighten the charm of nature. It appears clear that color was ap plied in various ways; sometimes on a coat of plaster, and sometimes directly on the surface of the marble. And a dis tinction must be drawn between a ooat of stucco and a hin wash of transparent paint. Thus does M. Beu'6 with reason conjecture that marble prized for its own sake might be preserved in its beauty by the use of "an en caustio preparation, pale and transparent, which Bhenld soften crudity without destroy ing the loveliness and lustre of the material." Indeed, there would seem to be ground for be lieving that Greek polychromy oonformed to the fundamental law of all true decoration that of ornament of construction, not of con struction of ornament; that of adorning mate rial, not destroying it. The system evidently was vital; it had power of adaptation. Thus when, as in the Dorio order, the forms were massive, the oolor preserved consonant gravity ; but when the proportions became, as in the Ionio, elegant, the tones assumed more llEhtness and cheerfulness. The color of sculpture we have always deemed to follow as a loeical and inevitable necessity on the oolor of its surrounding architectural structure. John Uibfon was aooustomed to talk much on this the favorite topio of his closing yearB; but though an uncompromising polvchrornist. we have heard him pronounce as a mistake the color applied by Mr. Owen Jones to the Llgln l-rlezts. In the notorious painted Venus, as seen in the International Exhibi tion of 1862, Gibson gave what he believed to be an accurate reproduction of Greek polv- chromy. Un this not wholly unsuccessful experiment it may be observed in eluoldation of preceding principles 1st. That a semi transparent pigment was so applied as to pre serve in some degree the quality of the un derlying marble; 2d. That the color was inten tionally non-naturaliBtio, the tone being that of ivory, not of flesh; 3d. That the figure held harmonious relation with the oolored archi tectural background. Mr. Gibson, when he came to London, expressed his complete satis faction with the result. Doubtless it was the mUfortune of his art to start with the assump tion that the Greeks could do no wrong;' such at sumption not only involves servility, but stands in opposition to the universal ex perl ence that error is inseparable from all human work. M. Beulu, like Mr. Gibson, believes in the infallibility of the Greeks. The argument, stripped of ciroumlooution, reads thus: Al that the Greeks did was right; they oolored architecture and sculpture; therefore to oolor architecture and sculpture is right. We confess that we have become converts to "Greek polychrome" almost against our will. We cannot but feel how unapproacha ble for beauty is marble fresh from the chisel, and we know in what loveliness the elements have clothed temples in Athens, on the head land of Eunium, and on the plain of PcceBtum. We cannot but say that on the spot any pro position for polychrome would have sounded as profanation. Still the historio. evidence seems conclusive, and abstract reasoning is certainly not entirely on the Bide of colorless light and shade. Doubtless it is possible to oonceive that a bran-Hew, brightly painted temple might assume an aspett poetio and imposing when backed by the brilliant sky of At ioa, or the deep bine of the Lgean Sea, M. Semper, an enthusiast and partisan, pre eents the imagination with the following plo- ture: "Tlie prevailing color of the temple burned with ull the flowing beauty of the Hotting nun. The color may ! (Kliiitd of a yellow red, very vuory, rcHem bling that of the finest terra cottiw. In fact, the general appearance of the temple would precisely icwnilile the appearance of a Hue day iu au EiuUitu cllmute." This relation between sky and oolor, climate Ed mateiiil, Involves the true, principle for the applic'.ioh of polychrome. And yet the reasoning sometimes cuts both ways, inns it mav be urged that our northern atmosphere, dark, dull, and dense, needs lighting up. On the whole, however, the weight of argument lies on the other Bide. In our cold and rainy clime the eye, shadowed in grey, is startled and pained by bright positive oolor;! nature herself puts on sombre drapery, the rain cloud shadows the mountain, a ureeK temple, ra diant as a rainbow, would in the hills of Cum burland need, like the cactus or the lotus, ao climatizaticn. But on the shores of the blue Mediterranean, or beneath the clear oloudless kits of Ionia, the Greek pediment, glitteriDg in go!d, and glowing with red fire, retteots with ardor the rising and the Betting sun Natuie in these climes exults iu exuberant li'e and the peoples themselves are ttsry in impulse and florid in ooBturue. Behold, then, crowding the height of the Acropolis, and looking down upon the gay life of the city beneath, "ces temples brillants d couleurs, touiours 'jeuneg, pares qu'ils Bont tonjours rsieunia." ' Les Grecs vonlaleut que toutes les blanches de Tart, peinture, sculpture, architecture, oontiibuassent a formeir Ihb tetn- dea dleux. ueaaiguer yuruuium, c'eKt paraitre ne 1 avoir ci t'tudit' ni com- tliuvgn ft itir record of fcttUquariaa labjri ia France takes little or no aooount of important ttsearibes in England. Thus no mention is made of the seated statues from the Saored Way of Branch id !, now in the British Mu seum. These archaic works, whioh probably belong to the sixth century B. C, "are exe cuted," says Mr. C. Newton, "in a style pre setting so strong a Tesemblanoe to the Egyptian as to suggest the idea that they were the work of Greek artists who had been eduoated in Eypt." We need not point out how important U the bearing of works which S'and on boundary lines in the schools of Egypt aud Asia Minor upon the long-mooted question of the historic origin of Greek art. It msy fnither be objeoted that no critical account is given of the famous Harpy's Tomb (I!. C. 6U0), acquired, with other Lycisn remains, for our oountry, by Sir Charles Fellows. Again, any history of "L'Artgreo avant PcrioJou" must be but fragmentary if it exolude all fictile art that has of late years seen the light. The vases fonnd at Camirus, Rhodes, Athens, Corinth, Sicily, and the islands of the Arohipslago, now in process of strict chronologio arrange ment in the British Museum, offer to the stu dent a rare opportunity of acquiring a mas tery over historio developments in the ceramic and plastio arts. Neither should coins or gems he forgotten in any treatise proteasing to produce a vivia picture oi arts wnicn adorned the early eras of Greoiau civilization. We thank M. 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Now York For passage in Philadelphia, apply at Adams' Express r ' - 11 f I et A L' company, w u. 1 1!7 Wo. 3-iO CniKSNLJTJHroet uirrr atptpttta T?TPTTfMVn i tn vAin.'iir t u'HL 1 UUlf fl) T 1 V Is 'TiniOIKiH FUKIGHT AIR LINK TU tTHK HOUTII AND WKST, At noon, from HKST WHARF above MARKET h VK V SAT K AV. fitpaol THHOtTf?H BATFS and TIIROITOII RECEIPTS to all points in North and South Carolina, via Seaboard Air Line Railroad, connecting at Portsmouth and to Lynch burg, Va., Tennessee, and the West, via Virginia and Ten nessee Air Line and Richmond and Danville Railroad. Freight HANDLED HUT ONCE, and taken at LOWER KATKH THAU A It U 1 tl ft 1( 1.1 N ft. ThA rAimlaritv. sjifetv. and cheapness of this route com mend it to the public as the most desirable medium for a rrv ri it avuru ifjiuni)( inn nf freiirht. No charge for commission, drayoge, or any expense of transier. Steamships Insured at the lowest rates. Freiicht received duily. WILLIAM P. CLYDE A CO., . No. 14 North and South WHARVES. W. P. PORTER. Agent at Richmond and City Point. T. P. CROWElIL A CO., Agents at Norfolk. 6 15 Tr. CHARLESTON, S. C. THE SOUTTI AND SOUTHWEST FAST FKEIGIIT LINE, EVERY THURSDAY. The StcamHhips PROMETHEUS, Captain Gray, J, W. PVi!.UniAI, HpiUHl VttlH.U, WILL FORM A REGULAR WEKKLY LINK. The steutiiBhlp PROMETHEUS will sail on THURS DAY, April l, at 4 r. m. inrotlKu D11IH OI iikihik Riven hi imiuiitohuu niiu a. C. It ii. to points in the South and .Southwest. InHurance at lowent ruU'U. Kates of frelltt as low aa by any other route. F'or freight, apply to - " ... ... . i . ... i. gin .ft. A. nuc ui'jiv 8 22 U DOC1X STREET WHARF. '"'W'T Alexandria, Georgetown, and Washington, D. jWr,4 C, via ChcHupeake and Delaware Cunal, with connections at Alexandria from the most direct route for l.ynchbuig, Unatul, Knoxville, Nashville, Dalton, aud the Southwest. Stoumers leave regularly every Saturday at noon from the first wharf above Alurkot street. r reight receiveu uauy. " WILLIAM P. CLYDE & (HJ., No. 1 4 North and South Wharves. J. It. DAVIDSON, Agent at Ooorgotown. M. ULDRIDUE & CO., Ageuta at Alexandria, Vir ginia. o ' 9 w NOTICE. FOR NEW YORK, VIA ? DELAWARE AND RARITAN CANAL, At EXPRESS STEAM BO AT COMPANY. iu. i llliAI'KST and OIIK'KKST water communica tion between Philadelphia and New York. HteMniern leave ilailv from first wharf below Market street, Philadelphia, and foot of Wall street, Now York. Goods forwarded by all tho lines running out of New York, North, East, and West, free of commission. reignt receiveu on ana Biter uie BUl instant, ana ior wardeu on accommodating terms. w 11,1.1AM p. i.Y Uft a ci)., Agents, No. 12 S. DELAWARE Avenue, Philadelphia. JAMES HAND, Agent, 80 No. 1 10 WALL Street, New York. NOTICE. FOR NEW YORK, via Delaware and Raritan Canal, RWIFT SIIRE TRANSPORTATION COMPANY. AJftBrAJCH AflU BvyiriBUKft ft. The business by those lines will be resumed on and after the 8th of March. For Freights, which will be taken on accommodating terms, apply to rv. m. riAiitij a uu., 8 24 No. X'A'i South Wharve. CHROMO LITHOCRAPHS. ICTUiRES FOK PRESENTS. JL. S. HODINSOW, No. 910 CHESNUT Street, Has JtiBt received exqniHite Bpeclmcns of f ART, SUITABLE FOR HOLIDAY GIFTS. FINE DRESDEN "ENAMELS" ON PORCELAIN, IN GREAT VARIETY. SPIXNDID PAINTED PHOTOGRAPHS, ' Including a Number of Choice Gems. A SUPERB LINE OF CHHOMOS. A large assortment of NEW ENUUAV1NOS, ETC. Also, RICH STYLES FRAMES, of elegant new patterns. 31 DYEINO AND PRINTING. I ESTABLISHED 1819. The New -York Dyeing and Printing Establishment, HTATKN INLAND, No 40 North EIGHTH Street (Went Side), Philadel phia; No. SB DUANE Street, and 702 BROADWAY, New York. Thin old and well-known Company are prepared, ag tiKual. with the highest degree of Hkill und the moHt approved machinery, TO DYE, CLKANSE, and viVllMIl everv variety of LADIES' and GENTLE MEN'S GARMENTS, and PIECE GOODS, iu their usual mperior manner. G ARMEN'l H CLEANSED WHOI.R. (3 11 thatll2lll NOTE This Im ouronlyoiil(:eJn Hilliidelphla. WOODLANDS CEMETERY COMPANY. V Tbe following Manugurs and Oltiours huve been elected for the year IKtiil: 8 I LI K. l'Hlf'K President. William H. MiMire, iWillisin W. Keen, Siimuel S. MiMin, Ferdinaud .1. ihei-r, Clllies Dullett, jtieorge I.. Kuzby, Edwin tireblo, lit. A. Knight. Secretary and Treasurer, t JOSEPH H. TOWNS END. The Managers liuve HBod a renolution ri'iiuiring both Ixit holdors and V iHitoni Ui present ticket at the entrance fi r a(lniiiou to the Ceii:cU'iy. TickxtH miiy be bud al the Cttice of the Company, No. h 13 AKCH Street, or of any ui the Juanuger. I 'J I)U. F. GIRARD, VET ERIN ARYSL'R- V (iKON, trnatH uH dina.Ha nf Iuuhhh mud cnttlt. lot Imn tl Ltm iiuUa4, .v. 44v ' 1 11 I I A AMUSEMENTS. ACADEMY OF MUSIC OPERA BOUFFE. DIRECTOR. I ''"AU, MR. J. GKAU'H IRKNCIt OPKRA OOMPANY, 1 rm tbe lbentro Krancaia. New York, will irive a eeaaua KHKM Il tIFKHA llOUFf'R, ' ' CnnnnenrltiR WKDNKKDA Y, April 14. and eonfrbftHik of '1 KM MOUTH AND 1 WO MATINKpt,. .. With the followinfr new and eminent artiiJte, who. will mrko their firHt appearance in 1'hiladelpbia: Nllim( b Roaa-llell, Deeelauana, Kiaarelli, (Jneretl, Vii toria Maurice, MM. Carrier, Keekera, t.abol, Kourxoin. Gcmt, Mupnay, Deliitno, Jiiirmet, Rivener.. Powerful Lhoni'es, tirand Orchestra, Who will appear in an entirely new rtjitrloire, c imprinlng the followiiiKoperna: ...,. . . ' Ccm.vicve te Hi-abant, I M Fftrislenrm. Fleur djThe, l a (irande DnchnaHO, liarbo Illeue, IXKil Crevo. KuliM-ription for Twelve Representations, including Re orivtd Keuts, $13. Subscription books are now open at the Academy of Mimic, where soate cn be selected 4 3 n HE 8 NUT STREET THEATRE. VV C D. 11KSH CO Manner rOUKTli VVFI'.K tP TIIK UKhAT HUUCKSI, The Wonderful, lirillinnt, l.udlrrntis F.rtraTftffiinr,, 1HK rlfUl 1UK F1F.1.1 GRE AT A IT RACTIONS TH 18 WEEK. Full W New lnlroduclions. No Abatement in the Popular Success of this MAGNIFICENT PRODUCTION. OF TIIK f i.OTH Or OOl.D. OF GOLD. V II A N ft i)V l lm K. CURTAIN WILL RISE AT 7 O'CLOCK. A quarter of an hour earlier than formerly. Ilox Oftice open from V A. M. to 6 P. M., daily. MKS. JOHN DKEW'8 AKCU STREET THF.ATKF.. Heirins Quarter to 8. EVERY NlliHT AND SATt'RDA Y AFTERNOON, Robertson's (treatost Success. W 11(1(11. With new scenery, music, unique effects, and great Cast, including JHKS. Jtllt.-l I Ml ft W AND FULL COMPANY. . FIRST "8CH7)Or" MATINEE, SATURDAY AFTERNOON, at a o'clock. rpiEATRE COMIQUE, 8EVENTU STREET, JL below Arch. Commences at 8'clock. I UnlK til, KINO OF MAGICIANS. Prof. ST. JEAN. Vr.,1 KT .11.-AN appears in his Inexplicable "Rclencos Mogiques," astonish ing, coniouniung, ana uewnoering all, witnntit oonledo rutes, trsps, mechnnii.m, simaratus. or holes in tbe table. iiis sen. r.. mhahuiMj n t. lf.AN. also aunears. MATINEE: at Son SATURDAY. Admission, 26 cento. ftV KN1 NO, 'ib, Ml, and 76 conU. Seats at Trumplcr's. lOX'S AMERICAN VARIETY THEATRE.-. 1? UNPARALLELED ATTRACTIONS. THE GENUINE ARAKS FROM ARABIA. TWO NEW UALLETS. The Great Burlesque IXION1 ' ' IXION! Doors open at 7j commonoe 7 3tl ; Saturday, S P. . T)IIILADELPUIA PII1XIIARMONIC 80- - X CIETY. The fourth and last Concert of this season will take pltAA . at the ACADEMY OF MUSIC on SATURDAY EVEN ING next, April 10, IHW. SOLO ARTISTS, M ISS ALIDKTOPP. MR. RUDOLPH HENNIN'G, and the YOUNU MJKNNERCHOR SO CIETY. Mozart's Symphony In E flat , No. 8, and William Tell Overture, by Rossini, will be rendered in a superior style by the rnagniliciant of the Society. TICKETS, 150. For sale at the Office of the Society, No. 1102 CHER- aadeTyVfVi mmi0 Tbe grand rehearsal previous to the f kinert, at HORTI CULTURAL HALL, FRIDAY AFTERNOON, April . . at 'i o'clock. For further particulars see programme. . . R. DODWORTII, President. J. A. Getze, Secretary. 4 7 4t VALER'8 (LATE MILLER'S) WINTEIJ GARDEN, Nos. T20, 7i, 11. and VI VINK Street. THE GRAND ORCHESTRION, formerly the property of tbe GRAND DUKE OF BADEN, purchased at great expense by JACOB VALER, of this city, in combination with FLAMER'S ORCHESTRA and Mihs NELLIE AN DERSON, will perform EVERY AFI'ERNOON and EVENING at tho above-mentioned place. Admissioo free; 1 13 tf HORTICULTURAL HALL. (JERM ANI A ORCHKSTRA-PURLIO RF.HEARSA1JS EVERY W EDN ESDAY, at 8j P. M. Tickets sold at the door, and all principal Music Stores. Packagoa of tiro for 1(1; single,. 26 cents. . - .o. r.i ; Engagements can be made by addressing G. BASTKRT, No. J.2;il MONTEREY Street; amf Andre's Musia Store, No. 1104 CHESNUT Street; . - 1818m , SENTZ AND II AS SEER'S THIRTIETH AND LAST " ' ' ORCHESTRA MATINEE . ... will be given May 8 Jltf GYMNASIUM, CORNER OF NINTH AND ARCH Streets, for Indies, Gentlemen, and Chil dren, is now open DAY and EVENING. Isons given in Sparring and Fencing. Cull in person or send fr circular. 3 6 stuthSmo PROF U LEWIS. M A M M O T II VELOCIPEDE SCHOOL,. TWENTY-FIRST and RACE Streets, onen Da and Eveninir. All stvlos of Velnoiriedea both for sale and to rent. Headquarters of Philadolphia Velocipede Club. Admission, 10 cunts. 8 8m , . J. W. POS1 BRANDY, WHISKY, WINE, ETC. HER MAJESTY CHAMPAGNE. DUNTON & LTJSSON, 215 SOUTH FRONT St. r-piIH ATTENTION OF THE TRADE IS X solicited to the following very Choice Wines, Ac, for sale by DUNTON A LUSSON, 215 SOUTH FRONT STREET. . CHAMPAGNES.-Agents for Her Majesty, Dnede Mon tebello,Oarte Bleue, Carte Blanche, and Chas.Farre's Grand Vin Eugenie and Vin Imperial. M. Kleeman A Co.. ol Moyence, Sparkling Moselle and RHINE WINES. MADEIRAS. Old Island, South Side Reserve. SHERRIES. F. Rudolphe, Amontillado, Topaa, Val lette, I'ale and Golden Bar, Crown, Ao. : PORTS. inho Velbo Real, Vallette and Crown. ' CLA RETS. Promisaine, Montferrand and Bordeaux, Clarets and Santerne W ines. (iIN.-"MederSwan." " BRANDIES.-Uenneasey, OUrd, Dupny Co., v&rion vintages. 4 6 QARSTAIRS & McCALL, Nos. 126 WALNUT and SI GRANITE Street-, IMPORTKK8 OF .- , BRANDIES, WINES, GIN, OLIVE OIL ETC. ETC., WHOLESALE DEALERS 11T Pure Rye Vhiskiesr In Bond and Tax Paid. 1411 BLANK BOOKS. BLANK BOOKS. The Largest Stock and Greatest Variety or FULL AND XXAX.F.SOUX7D BLANK BOOKS, MEMORANDUM, PASS, COPYTBOOKS, ETC ETC., To be found hi this city, la at the OLD ESTABLISHED ' Blank Book Manufactory or JAS. B. SMITH & CO., No. 27 South SEVENTH St., 818th.tll3m PHILADELPHIA. OFFICE AND SALESROOM, FIHHT 'FLOOR ; VVAHK KOOMS, U' STAIKS. QEORCE P-OWM A N, CARPENTEK AND BUILDEK, No 134 DOCK Stect, Philadelphia. ;Vv ANOKR CATTELL A CO., A Lw .irticK COMMISSION MKRCH AN'j'rl. A PKm"aU NORTH WUARVKS No 'iiywrn'"" STREET,
Significant historical Pennsylvania newspapers