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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.

I shall never forget the circumstance of observing a pair of yellow-bellied woodpeckers,--the most rare and secluded, and, next to the red-headed, the most beautiful species found in our woods,--breeding in an old, truncated beech in the Beaverkill Mountains, an off-shoot of the Catskills. We had been travelling, three of us, all day in search of a trout lake, which lay far in among the mountains, had twice lost our course in the trackless forest, and, weary and hungry, had sat down to rest upon a decayed log. The chattering of the young, and the passing to and fro of the parent birds, soon arrested my attention. The entrance to the nest was on the east side of the tree, about twenty-five feet from the ground. At intervals of scarcely a minute, the old birds, one after another, would light upon the edge of the hole with a grub or worm in their beaks; then each in turn would make a bow or two, cast an eye quickly around, and by a single movement place itself in the neck of the passage. Here it would pause a moment, as if to determine in which expectant mouth to place the morsel, and then disappear within. In about half a minute, during which time the chattering of the young gradually subsided, the bird would again emerge, but this time bearing in its beak the ordure of one of the helpless family. Flying away very slowly with head lowered and extended, as if anxious to hold the offensive object as far from its plumage as possible, the bird dropped the unsavory morsel in the course of a few yards, and, alighting on a tree, wiped its bill on the bark and moss. This seemed to be the order all day,--carrying in and carrying out. I watched the birds for an hour, while my companions were taking their turn in exploring the lay of the land around us, and noted no variation in the programme. It would be curious to know if the young are fed and waited upon in regular order, and how, amid the darkness and the crowded state of the apartment, the matter is so neatly managed. But ornithologists are all silent upon the subject.

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