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I left Tarma on January 29th, following a well-cultivated valley, fairly thickly inhabited. We were travelling over a good mule-track, swarming with Indians, donkeys, mules, and horses. The mud houses and land on either side were enclosed by hedges of cacti, or by walls. We were between barren mountains of a brownish colour, against which the quaint, brightly-coloured costumes of the many people on the road were thrown out in vivid contrast. Most of the houses were constructed of large mud bricks, sun-dried. The crops seemed to consist chiefly of Indian corn. As we went farther, among dark brown rocks and limestone, we came to grottoes and rock habitations. At some remote period there must have been a great upheaval in that country--at least, judging by the sedimentary foliated rock, the strata of which were from one to three feet thick, and which had originally been deposited horizontally by water. These accumulations or sediments now stood up at an angle of 45 deg.. We were now in a region where llamas were plentiful--most delightful animals, with their pointed ears pricked up, their luxuriant coats, and stumpy curled tails.

ASSCHE, AMELIE VAN. Portrait painter and court painter to Queen Louise Marie of Belgium. She was born in 1804, and was the daughter of Henri Jean van Assche. Her first teachers were Mlle. F. Lagarenine and D' Antissier; she later went to Paris, where she spent some time as a pupil of Millet. She made her debut at Ghent in 1820, and in Brussels in 1821, with water-colors and pastels, and some of her miniatures figured in the various exhibitions at Brussels between 1830 and 1848, and in Ghent between 1835 and 1838. Her portraits, which are thought to be very good likenesses, are also admirable in color, drawing, and modelling; and her portrait of Leopold I., which she painted in 1839, won for her the appointment at court.

Against the right-hand wall are two lady-helps, each warming a towel at a glowing fire, to be ready against the baby should come out of its bath; while in the right-hand foreground we have the levatrice, who having discharged her task, and being now so disposed, has removed the bottle from the chimney-piece, and put it near some bread, fruit and a chicken, over which she is about to discuss the confinement with two other gossips. The levatrice is a very characteristic figure, but the best in the chapel is the one of the head nurse, near the middle of the composition; she has now the infant in full charge, and is showing it to St. Joachim, with an expression as though she were telling him that her husband was a merry man. I am afraid Shakespeare was dead before the sculptor was born, otherwise I should have felt certain that he had drawn Juliet's nurse from this figure. As for the little Virgin herself, I believe her to be a fine boy of about ten months old. Viewing the work as a whole, if I only felt more sure what artistic merit really is, I should say that, though the chapel cannot be rated very highly from some standpoints, there are others from which it may be praised warmly enough. It is innocent of anatomy-worship, free from affectation or swagger, and not devoid of a good deal of homely naivete. It can no more be compared with Tabachetti or Donatello than Hogarth can with Rembrandt or Giovanni Bellini; but as it does not transcend the limitations of its age, so neither is it wanting in whatever merits that age possessed; and there is no age without merits of some kind. There is no inscription saying who made the figures, but tradition gives them to Pietro Aureggio Termine, of Biella, commonly called Aureggio. This is confirmed by their strong resemblance to those in the Dimora Chapel, in which there is an inscription that names Aureggio as the sculptor.

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