ations of plays and players. The theatre apparently has
not, for we read that at that period "a very great majority of the
standard plays and farces on the stage depend mostly for their piquancy
and their power of interesting an audience upon intrigues with married
women, elopements, seductions, bribery, cheating, and fraud of every
description . . . . Stage costume, too, wherever there is half a
chance, is usually made as lascivious and immodest as possible; and a
freedom and impropriety prevails among the characters of the piece which
would be kicked out of private society the instant it would have the
audacity to make its appearance there."

II.

I hope private society in New York would still be found as correct if not
quite so violent; and I wish I could believe that the fine arts were
presently in as flourishing a condition among us as they were in 1849.
That was the prosperous day of the Art Unions, in which the artists
clubbed their output, and the subscribers parted the works among
themselves by something so very like raffling that the Art Unions were
finally suppressed under the law against lotteries. While they lasted,
however, they had exhibitions thronged by our wealth, fashion, and
intellect (to name them in the order they hold the New York mind), as our
private views now are, or ought to be; and the author "devotes an entire
number" of his series "to a single institution"--fearless of being
accused of partiality by any who rightly appreciate the influences of the
fine arts upon the morals and refinement of mankind.

He devotes even more than an entire number to literature; for, besides
treating of various literary celebrities at the "literary soirees," he
imagines encountering several of them at the high-class restaurants.
At Delmonico's, where if you had "French and money" you could get in that
day "a dinner which, as a work of art, ranks with a picture by
Huntington, a poem by Willis, or a statue by Powers," he meets such a
musical critic as Richard Grant White, such an intellectual epicurean as
N. P. Willis, such a lyric poet as Charles Fenno Hoffman. But it would
be a warm day for Delmonico's when the observer in this epoch could
chance upon so much genius at its tables, perhaps because genius among us
has no longer the French or the money. Indeed, the author of 'New York
in Slices' seems finally to think that he has gone too far, even for his
own period, and brings himself up with the qualifyi