The Musical Review & Musical World. NEW YORK, SEPTEMBER 14, 1861. A NEW BOOK OF CHURCH MUSIC NEARLY READY, By reference to our advertisement on another page, it will be seen that Dr. Mason's new book of Church Music is so nearly ready that it can be promised next month; and we are disposed to avail ourselves of this opportunity, and of the eagerness with which it will be welcomed, to offer still another inducement for subscriptions to the MUSICAL REVIEW. To every one who will send us One Dollar before November, we will give a copy of ASAPH; OR, THE Cпoir Book, and will also send the MUSICAL REVIEW for one year. Subscriptions may commence at once, and a list of the subscribers will be kept, to each of whom a copy of the book will be delivered as soon as ready; or, if the necessary postage, twenty-four cents, is enclosed to us with the dollar, we will send the copy by mail. more expert in this art than our pianists and violinists? It is for this reason that these artists may be justly called the prestidigitators of the musical world. They astonish us by the quickness of their proceedings; and just as little as the public can understand how they produce their effects, just as little will Mr. Hermann's audiences know what causes his. In former times, composers used to patronize a style of music which they called Mysterium. Mr. Hermann, in common with the great masters of the music of the future, is the restorer of this class of composition, with this difference, however, that while his colleagues use a great many instruments to accomplish their purposes, he uses but his hands and his voice. Do not infer from this that Mr. Hermann is a singer. He is also not a pianist or a violinist, although he plays upon a good many strings. As to his performing on the Saxhorn, we never heard him do it, although we should consider him perfectly able to blow his own horn. Mr. Hermann is a man of the times-a fast man. Prestissimo is his watchword, and we hope, for the sake of those who will succeed him at the Academy, prestissimo will be his success. If, after this lucid explanation, you should still not know what a Prestidigitator is, we refer you to Mr. Hermann and his soirées. Perhaps these will explain the thing better to you. TRAVELING SKETCHES. BERLIN. BERLIN looked to me just as sandy and cold as ever. There has been from time immemorial so much sand in and around Berlin, that we can not wonder when the inhabitants occasionally attempt to throw it into the eyes of some of their visitors. However, this playful habit is also practiced in other countries, where they make up the deficiency of sand by dust. I had not been two days in Berlin, when I made the acquaintance of a distinguished pianist who had just finished a treatise on the ASAPH; OR, THE CHOIR BOOK, will be a book principally of new music, practical and pleasing, and, as its name implies, emphatically for Choirs. It will, therefore, be just the book for Singing Schools, Musical Associations, etc. The Elementary Department is especially full and interesting; containing a very large number of social pieces, glees, partsongs, rounds, and scale exercises. Almost all these are now for the first time published in this country, the words, as well as the music, hav-"Philosophy of Piano-forte Playing." He did not specify to me the ing been specially prepared, or selected and adapted for this work. We are confident that, in this feature, ASAPH will be found unsurpassed. In the Hymn Tune Department, there is a large and pleasing variety of popular and attractive tunes, affording provision for almost every variety of meter, including many new and favorite hymns. We can with confidence promise here a rich mine to Choirs and Musical Associations, which will not be found too difficult in the working. An abundant variety of Anthems and Set Pieces conclude the book, which is of the same size and price as our ordinary Church Music books. Due notice will be given of the day of publication. HERMANN, THE PRESTIDIGITATOR. [TO THE EDITOR OF THE MUSICAL REVIEW AND WORLD.] Is he a I SEE in the papers that Mr. Hermann is going to open the season at the Academy of Music. With what, I should like to know? composer, a singer, a pianist? What is Prestidigitation? A friend of mine says it is the French name for a Saxhorn, but another friend thinks this cannot be, as blowing in the Academy of Music is out of the question. Now let me know your opinion about this matter. If it should turn out to be but a German "What is it?" I should feel very much disappointed, although I can hardly think so, for, as my music-teacher says, to judge from the name, there must be something musical about it, and this prompts me to address you in this matter. Yours, ELIZA KUCHNAGEL. You are perfectly right, Madame; there is something musical about the name, although some people think it is not exactly in its sound. Prestidigitation is the art to move the fingers quickly-and who are contents of his book, but he mentioned its principle, “being based upou the ideas as represented in the left wing of the Hegel School." He told me that individuality, or rather "one's own self," was every thing in piano-forte playing-a truth which, in my mind, I fully corroborated, not only with regard to pianists, but artists in general. The same evening I went to the opera, where I saw my old friend Johanna Wagner, as Elizabeth," in "Tannhauser." There was a time when the witty Berliners laughed at the old German minstrel, and now they consider him a wonderfully smart fellow. What a change! But it is certainly not greater than I witnessed in Johanna. Not that she has grown smaller in size, or even talent. Both measure still six feet and a few inches; but her voice, formerly fully up to both, has lost wonderfully of its footing, and can hardly be even counted by inches. "Johanna goes, and never will return," does her namesake exclaim in Schiller's drama. Ah, our Johanna may say the same in reference to the best part of her former self, her voice. People here talk a great deal of her intentions to become an actress, but Johanna, so wonderfully dramatic in opera, will nevertheless be a poor actress. Theodor Formes was Tannhauser. Theodor is the brother of Carl. What the one has in depth, the other has in heighth; but there is a common grave for high and low, and if Carl has experienced this already for some time, Theodor will soon follow suit. I need not tell you that the "General Musical, Conductor," Meyerbeer, did not conduct the opera of Tannhauser. Although he is chief conductor at the opera, yet very few in Berlin can say that they ever saw him occupy the only arm-chair the Berlin Orchestra, in common with its colleagues all over the world, can boast of. In fact, a great many doubt his existence, although "the oldest inhabitant" assures us that there once was a boy of the name of Jacob Meyer Beer, who was very smart and cunning, and had a wonderful talent to profit by the shortcomings of his playmates. But if Meyerbeer himself is a myth for the greater part of the inhabitants, some of these, at least, derive a benefit from this mysterious fact. These are the members of the orchestra, who, if they see not himself, do see at least his money, which is said to produce a very consoling effect upon them. In explanation, let me say that Meyerbeer gives every year his whole salary, consisting of about $2,000, to the orchestra,-a munificence which ought to be duly appreciated in spite of the circumstance, that the donor, outside his large income from his compositions, enjoys the interest of about half a million's independent fortune. FARMER STUBBS' VISIT TO NEW YORK CITY. As sung with rapturous applause by Master FORGET, IF YOU CAN, BUT FORGIVE. J. R. Thomas. 25c. ALWAYS LOOK ON THE SUNNY SIDE. Ballad. By B. Covert. 25c. WHY HAVE MY LOVED ONES GONE? S. C. Foster. 25c. WHAT THEY DO AT THE SPRINGS. C. M. Tremaine. 25c. Sung with "unbounded applause" by the Tremaine Family. A Scotch ballad. Aug. Cull. 25c It cannot be denied, that in Berlin one can hear a greater variety of musical compositions than in any other city in Germany. There is Liebig, who, with his orchestra, gives you for a few cents every thing you want from Emanuel Bach up to Liszt. There is the Dome Choir, who plunge you into the deep waters of the old Italians and Netherlanders, which occasionally you will find very refreshing, especially BONNIE, BONNIE BELL. James R. Murray. 25c. after having enjoyed for some time the shallow waters of Berlin-born music. There is the opera with Gluck, Spontini, Flotow, Verdi, and Wagner; there are the Philharmonic Concerts, the Soirées of Chamber Music, the performances of the Gesang-Vereine (singing-clubs), not to forget those of the old, venerable Sing-Academie, with its glorious traditions; there are all these thorough Berlin institutions, which, during the winter, give a man plenty of opportunity to exercise his mental and pedestrial faculties. Alas! one of the old Berlin institutions I found missing. This was Rellstab, the critic, who had died a short time before my arrival. Unfortunately, his paper, old Aunty Voss, did not share his fate, but was as much as ever the gray representative of blottingpaper literature. But while the most celebrated representative of old German criticism was gone, I found those of the new school fully alive to the exigencies of their creed and their-stomachs. To speak the truth, the former are of little consequence, when compared with the latter. It is astonishing how accommodating the stomach of a true Berlin critic is; but, strange to say, the man who puts the utmost faith in your dinners, is full of skepticism for your abilities. He believes in your Champagne and Poulets aux truffes, but he by no means believes in your talents, unless you provide him with some circumstantial evidence to do so. This is, of course, a peculiarity which cannot be found with the critics of other countries. Or have you ever found a similar disposition in the New York critics? I am sorry to say that Hans von Bulow was not in Berlin during my last visit, for he would have undoubtedly furnished me with valuable statistics in reference to the spread of the Wagner principles there. You know Bulow is the brother-in-law of Liszt, and, as rumors go, already in the best way to perpetuate the ideas of his father-in-law. But he is, moreover, the greatest pianist of the age, and a young man who is as expert with his pen as he is with his fingers on the piano-forte. If such a man takes his residence in Berlin, he must have good cause for it; and if the latter is not discernible for the present, the effect is already distinctly seen in the programmes of the concerts as well as musical soirées. S. v. W. MADMEN, SPARE THAT FLAG! Aug. Cull. 250. 25c. Do. 25c. Do. 25c. Do. 25c. WHERE LIBERTY DWELLS, THERE IS MY COUNTRY. G. S. Plumley. 25c. TO ARMS! To ARMS! William F. Otten. 40c. Patriotic Songs of more or less merit. The music to "Freemen's Gathering" is an arrange ment of the "Marseillaise." "My Country, 'tis of Thee," is adapted to the music of "God Save the Queen." "To Arms! To Arms!" is based upon an old German song. Firth, Pond & Co., New York. FIRST PERIOD. THE OPERATIC WORLD. A Collection of Gems from favorite operas. Arranged by A. W. WAR MARCH. J. H. McNaughton. 35c. RED, WHITE, AND BLUE. Arranged by A. W. Berg. 35c. A good arrangement. THE FAIRIES' DANCE. Brinley Richards. 85c. A little more difficult than the above pieces. Brilliant and commendable. ANNIE OF THE VALE. Song and chorus. J. R. Thomas. 35c. THE ZINGARINA. Ballad. By G. Linley. 25c. S. T. Gordon, New York. SECOND PEriod. IRENE GALOP BRILLANT. Theo. Moelling. 50c. A lively and melodious piece, which will be welcome to the majority of our advanced amateurs. Lee & Walker, Philadelphia. FIRST PERIOD. GENERAL MCCLELLAN'S GRAND MARCH. E. Mark. (With colored lithograph.) 50c Two good marches for the times. PRAYER GANTED. Answer to "Maiden's Prayer." By Thecla Badarzewska. 35c. Instead of the runs going up, as in "Maiden's Prayer," they go down in the “Answer." We have not the slightest doubt that they will do the same with the great mass of our amateurs. THE UNION MEDLEY. Containing: "Hail Columbia," "The Banner Song," "Our Flag is There," "Star-Spangled Banner,” Washington's Grand March," "Sound Now the Trumpet," "Yankee Doodle," "America," "Hail to the Chief," Marseillai-e," "Jefferson and Liberty," "Columbia, the Gem of the Ocean," "Close the Ranks Firmly," "The Land of Washington," "Prayer for Peace." By Wm. Dressler. 50c. A very rich collection, well arranged. VOCAL MUSIC. HOME TO OUR MOUNTAINS. Duo from "Il Trovatore." Arranged by C. W. Glover. 40c. ELLSWORTH'S FUNERAL. Arranged by Miss L. A. Wetmore. 25c. Answers to Correspondents. E. D. F., Bluehill, Maine.-Coll 'o ttava (abbreviated 8va), when standing above the note, means that the higher octave, and, when standing below the note, that the lower octave has to be struck at the same time. MUSICAL GOSSIP. The following programmes of the soirées to be given by Messrs. Mason and Thomas during the next season, will be welcome to our amateurs: SOIRÉE I-1. Quartet, (G No. 1)-Mozart. 2. Sonata, (plano Eb op. 31, No. 3)-Beethoven. 3. Rondo, (piano and violin, op. 70, B minor)-Schubert. 4. Quartet, (F. op. 41, No. 2)— Schumann. SOIRÉE II.-1. Quartet, (G)-Haydn. 2. Romanzen, (piano, op 28)-Schumann, 3. Trio, (Bb minor, op 5)- Vollkmann. 4. Quartet, (E minor, No. 8)-Beethoven. SOIRÉE III-1. Quintet, (Eb piano, Oboi, Clarionet, Bassoon, Horn)-Mozart. 2. Sonata, (piano and cello in A, op. 69)-Beethoven. 3. Solo, (viola.) 4. Fantasia, (C op. 159, piano and violin)-Schubert. 5. Quartet, (C minor, No. 4, op. 18)--Beethoven. SOIRÉE IV.—1. Quartet, by Haydn. 2. Sonata, (op. 101, A piano)-Beethoven, 8. Trio, (F)—Schumann. 4. Quintet, (C, 2 violins, 1 viola, 2 cellos, op. 162)—Schubert. SOIRÉE V.-Trio, (Eb piano, clarionet, viola)—Mozart. 2. Quartet, (E flat)-Spohr. 3. Sonate, piano and violin, (D minor)-Schumann. 4. Quartet, (F minor, No. 11)-Beethoven. SOIRÉE VI.-1. Quartet, piano, (G minor)—Mozart. 2. Preludio and Fugue, (violin)—Bach8. Trio, (op. 99, B major)-Schubert. 4. Quartet, (Eb No. 12)—Beethoven. EUROPEAN ITEMS. MR. RUDOLPH HALL, the American Cornet-player, is performing in London with great success. THE London Musical World has a biographical sketch of Schumann, accompanied by a few remarks about his merits, which, strange to say, are not abusive. Mr. Macfarren, the well-known composer, comes also out with an appeal in favor of Schumann, although we can well remember the time when he held the latter in very little esteem. Private letters from London, too, speak of a change in the opinions and appreciation of the English artists with regard to the German composer. Thus even the English world of musical art moves on, and in due time Schumann will be thought worthy to rank with Mendelssohn, and the other great artists held in veneration by the English people. MR. SOBOLEWSKI, in his pamphlet, "The Secret of the Latest School of Music," tells us that the secret consists simply in the fact that the school must know more than the old one. It cannot be denied that this fact is certainly a secret to a great many of its members. WE quote the following from the Paris correspondent of the London Musical World: "The tragic actress, Mad. Ristori, is said to have had the offer of an engagement for America, and the terms proposed are 75,000 francs (£3,000) per month, but the lady, it is added, has asked 25,000 more, bearing in mind the perils and inconveniences encountered by poor Rachel. The whole is, of course, a barefaced fabrication of the friends of Mad. Ristori, who are always endeavoring to measure her with the great departed tragédienne, whose memory is as much too crushing for her, as was her actual presence in the flesh. As if the Americans had leisure to think of any other tragedies than that bloody one they are now in the second act of. To add to the transparency of the falsehood, the gentleman said to be charged with this mission is called the Secretary of the New York Academy. A CORRESPONDENT at St. Petersburg informs us that the programme for the ensuing operatic season, which commences on the 1st of September, is pretty much as follows:-Two new Russian operas, original both as to music and words, will be produced at the Marie Theater. One, entitled "Natacha," is by M. Villebois; the other, called "Juditta," is by M. Sero, a follower of Wagner, and better known hitherto as a critic than as a writer of music. The subscribers to the Italian theater will have the bloom of a new opera by Signor Verdi, in which the principal part has been written for Signor Tamberlik. Moreover, the musical public of St. Petersburg will hear, for the first time, the celebrated baritone, Signor Graziani; and it is rumored that the manager, M. de Sabourow, has concluded an engagement with Mlle. Patti, but of this you can better judge the truth than I. According to an Italian paper, the subject of the new opera which Signor Verdi is engaged on for St. Petersburg, is taken from a Spanish drama by Martinez de la Rosa, entitled "La Fuerza del Destines "—that is, "the Power of Fate." THE following gentlemen, connected with the musical art in Paris, have been decorated by the French Emperor. It will be seen in a great inany instances, that it requires rather little talent, or even fame, to become an officer of the Legion of Honor: M. Nadaud, the well-known song-writer and song-composer, sometimes called the Béranger of the boudoir, but having little in common with the genius of the great national songster; M. Ravina, who, we suppose, is rather decorated for his skill as an executant than his merit as a composer; M. Offenbach, of whom it is equally unnecessary to speak, and the motive for whose decoration is equally open to speculation; M. Tilmant, the well-known director of the orchestra at the Opéra Comique; M. Auguste Blanchard, engraver; M. Masset, ex-tenor of the Grand Opéra and Opéra Comique, now Professor at the school of St. Denis-no voice, but considerable talent. A GERMAN critic in Wiesbaden has the following on the opera of "Faust," music by Gounod: "For myself, however, I do not think a Frenchman capable of grasping so mighty a subject in all its profundity. There is so much childish, foreign nonsense in Gounod's 'Faust,' that I will not venture to affirm he has succeeded in hitting the nail on the head. One thing is very certain. and that is, that Meyerbeer has constantly shone like a bright constellation before his mind. Gounod has formed himself entirely on Meyerbeer, whom he may, if he be fortunate, in time equal. But his music can boast of truth just a little, as every tone of Meyerbeer can. Gounod is sometimes more economical in the application of his instrumental resources; but he has already involved himself to such an extent with those powerful allies-scenery, transformations, and ballet-that they promise soon to wrest the superiority altogether from the composer." A RIVAL TO PICOo.-People are accustomed to say, "that is impossible," whenever they hear of any thing which passes their comprehension. "That is impossible," was the cry when certain writers asserted that Paganini played whole concertos on the G string. "That is impossible," was again the cry, when the papers announced that the daring Blondin would cross the Falls of Niagara on the tight-rope, and yet both these impossibilities proved not only possibilities, but actual facts. Will not people once more exclaim, "That is impossible," when they are informed that a certain Herr Nagy Jacob has succeeded, by persevering labor, in attaining such proficiency on the shepherd's-pipe, or “Hirtenflöte," as to play concertos on it, and to excite the admiration both of professionals and the general public? From the little insignificantlooking instrument of elder-wood, with six holes without keys, he produces tones extending over nearly four octaves, with a degree of almost incredible power and fulness, while, on the other hand, he manages his instrument with such gentleness as to remind his hearers of the soft chirruping of the lark, or the melodious warbling of the nightingale. In short, there are no mechanical difficulties he does not overcome. "That is impossible," will again be the cry, but the public will shortly have an opportunity of convincing themselves of the truth of the above statement, as Herr Nagy Jacob is about to make a tour through Germany.-Russian Paper. THE Signale publishes two letters by Mendelssohn, written in 1830, in Weimar. The letters, taken from a book containing his letters of travel, and just published in Leipzig, give evidence of the great interest Goethe took in Mendelssohn, then 21 years old. STIGELLI has been engaged at the Opera house in Vienna. LISZT will henceforth reside somewhere else than in Weimar. MAD. JACHMANN-WAGNER Will make her debût as an actress in Berlin at the end of this month. BOSTON, Our Musical Correspondence. SEPTEMBER 10, 1861.-DEAR REVIEW :-All the music we have in this region now-a-days is anticipatory. Preparations for the winter's campaign progress rapidly, and, as the season advances, expectations heighten; so we have good reason to look forward to a continual feast. But you shall hear of it all in due time; the press is under interdict in these troublous times, you know, so it is unlawful to publish particulars beforehand. Musical business, too, promises well as the cold weather draws on. It is pleasant to see the effect of the hard times upon the study of both vocal and instrumental music. People hereabouts are coming to feel more and more, that money spent with second or third-rate teachers (in point of thoroughness) is worse than thrown away, and that if enough cannot be spared to employ a good teacher, none shall be employed. The consequence is, that thorough, conscientious teachers, of whatever grade of advancement, are commencing the season with good classes, and a prospect of still better ones, while a great amount of injury formerly caused by careless, superficial study, is avoided. Love for the divine art, and determination to study it, have, in the great majority of cases falling within the range of our own experience or observation, been triumphant over fears of bankruptcies and coming financial terrors, and we are confident that very few musical seasons have ever opened with better present and prospective appearances than the present THE Connecticut River Valley Musical Association held their semiannual convention here last week, under the direction of Geo. F. Root, Esq., of your city. The convention was the largest ever holden in this part of the country, and was, in all respects, a great success. There were present Mr. Geo. B. Loomis, and several others from the Normal Musical Institute, who, by their singing and teaching, and modest and gentlemanly deportment, reflected much credit upon the teachers of that institution. Two ladies from Boston, Mrs. T- and Miss C, sang for us, in elegant style, music of Mendelssohn, Schubert, Kücken, &c. Excellent service was also rendered, and much pleasure given, by Messrs. Martin, of Hudson, Rix, of Lowell, Ellis, of Lawrence, and Brown, of Boston, not to mention others who took prominent parts in the various exercises. Among other music we sang some cho ruses from the “Messiah," which, if they were not performed so well as they sometimes are, were to us exceedingly beneficial in their practice and grand in their effect. We have reason to believe that there was but one secessionist in the multitude of people who thronged the church, and we shouldn't have found him out if we hadn't touched him with the "Star-spangled Banner," which, when it was sung by the convention and audience, and accompanied by the full organ, was not highly calculated to soothe the feelings of any one who sympathized with traitors. I should like to give you an account of our daily exercises of church music, vocal training, Pestalozzian teaching, glee and chorus drilling, and other things which Mr. Root does so well, but am afraid my letter is already too long. C. A CHRISTIAN'S cheerful look glorifies God. True religion does not take away our joy, but refines and clarifies it; it does not break our viol, but tunes it, and makes the music sweeter. Miscellaneous. THE GRAND VOCAL FESTIVAL IN NUREM BERG. THE idea of getting up a Grand Vocal Festival for all Germany, was, at the present day, a very natural result of the wish entertained by every educated person to behold the various members of the German family united in one great whole. Every thing that serves to express this feeling, or that can nourish and strengthen the spirit which yearns for a united Fatherland, is warmly welcomed and everywhere adopted and promoted most lovingly and zealously. Viewed in this light, the Vocal Festival in Nuremberg was, from the immense interest it excited, a healthy sign of the times. No one could well expect the Festival to prove any very great event for art, although it called forth a few choral compositions, of more than ordinary merit, for male voices, and this certainly enriched that branch of writing. It was to be foreseen that the artistic would be outbalanced by the national element; but why should Music not consider it an honor to be the interpretress of the noblest sentiments and feelings of love for our Fatherland, and of a yearning after the union and power of the entire German people? That kind of music which gushes directly from the human breast-we allude to vocal music-is that most nearly allied to the soul, whence alone it derives its true expression, and on which it exercises the profoundest reaction. To sum up in a few words the grand result of the Festival, we assert with joy that its principal object, namely, the enthusiastic expression of German nationality by German poetry and German song, was most triumphantly achieved. That the masses of executants who met on the occasion, the thousands of spectators and listeners who flocked from all parts, the festive movements of the entire population of the town and its environs; and furthermore, material facts, such as the magnificence of Nuremberg itself, the grandeur of the processions, and the fineness of the weather, which was, without exceptior, most propitious-that all this, we say, should co-operate powerfully in bringing about the satisfactory general result, was natural. Each element in the Festival enhanced the other, and music formed only the central point of a display of national feeling, such as-for the unrestrained intercourse of all classes, and the good-humored enjoyment of a vast multitude giving themselves up to the present moment, and able to rejoice in their existence for the sake of that existence itself—is to be found only among the members of our own race in South Germany. For the celebration of a national festival, Nuremberg is in the highest degree appropriate. We were struck with astonishment, as, amid loud expressions of welcome and the flourish of trumpets, we arrived at the railway station on Saturday, the 20th July, while this pearl of German cities unfolded before our eyes its architectural magnificence, which has not its equal in Germany, or, in its peculiar way, in Europe; and which, moreover, on this occasion, was bravely decked out in festive array, carrying us back in imagination to the time when the imperial city of Nuremberg received the German Kaisers, and welcomed them with brilliant state. On the 20th July last, however, Music was the guest for whom the grand old city, the mother of all German art, had put on her gala robes. All the public edifices, as well as all the private houses, the palaces, and the most modest residences, were decorated, from the ground floor to the gable points, with flowers and foliage, displaying a true artistic feeling, the prevalence of which caused the beautiful forms of the various buildings to stand out with more than ordinary prominence. From the house-tops to about a man's height from the pave ment, hung thousands of long flags, which, by their broad stripes of black and gold, announced the signification of the Festival, while a large number of other flags with the Bavarian colors waved amongst them, frequently the architectural outlines by an infinity of smaller flags. bringing out, in a highly ingenious manner, as at the Rathhaus, for instance, And yet no flags or colors were requisite to stamp Nuremberg as a Gerhouse as well, a monument of German architectural art. This applies not to man city, for not only is each world-famous and venerable church, but every the buildings of former ages alone, for down to the present day the Nuremberg architects, with Heideloff at their head, have continued the taste for the German style, and carried it out in a most admirable manner. The broad streets, nowhere laid out in informal straight lines, offer, in their windings, such picturesque and surprising views, with the vast expanse of sky visible above, since in all the principal thoroughfares there is ample space between |