From the Painting by Ary Scheffer.]

The Duc de Nemours accompanied her, leading the Comte de Paris by the hand; and the Duc de Chartres, who was weak and ill, was wrapped up in a mantle and leaned on Ary Scheffer's arm.

Some haouw I couldn't make up my mind which I'd hev, and kept dodgin', all ready to slew raound, an' hitch on tew ary

Tom he ain't got ary one o' the three.

After the painting by Ary Scheffer.

"I reckon a ho-tel man's got a right to rent his hull house ary minute.

Chopin's portrait by Ary Scheffer, his piano, and his Paris furniture perished, and his papers were believed to be among the lost.

When he examined it more closely and found the artist's name, "It's by my old friend Ary Scheffer!" said he,remarking further, that he had known Scheffer intimately, and knew him to be a true artist, but had not expected from him anything so excellent as this.

"A Great Harvest from a Little Seed," Some years ago there was a celebrated artist in Paris whose name was Ary Scheffer.

This was enclosed in a letter which read as follows: "Sir: You one day gave a louis d'or to Baron Rothschild, in the studio of Ary Scheffer.

But when I began to look at him as a being of real flesh and blood, I found that Ary Scheffer's portrait had not deceived me.

These phrases are the same that somebody(I believe it is Smith, in his Inductive Grammar) has ignorantly written "ary one" and "nary one" calling them vulgarisms.

"ARY ONE, for either.

Since this remark was written, I have read an other grammar, (that of the "Rev. Charles Adams,") in which the author sets down among "the more frequent improprieties committed, in conversation, 'Ary one' for either, and 'nary one' for neither.

Among his "Improper Pronunciations" he puts down "Nary" and "Ary" and for "Corrections" of them, gives "neither" and "either.

The brief example, which may doubtless be understood to speak for both phrases and both authors, is this: "ARY = either.

Their sluttish women shrieked with mirth and gave their kisses to the leader of the gang, who had the face of Christ as painted by Ary Scheffer.

Resting the photograph on the poor hand half paralyzed, he put on his eyeglass with the right, and then holding the likeness at a longer or shorter distance he began to say: "But for certain details, the face is like one of those Ary-Schaeffer liked to paint.

Jacob Geritee Cuyp (1575); Albert Cuyp (1605), Ferdinand Bol (1611), Nicolas Maas (1632), and Schalken (1643) belonged to the former; Arend de Gelder, Arnold Houbraken, Dirk Stoop, and Ary Scheffer are of the latter.

The works of Ary Scheffer are now the most interesting pictures in the Dortrecht Gallery.

<b>SCHEFFER, CAROLINE.</b> The daughter of Ary Lamme and wife of J. B. Scheffer was an artist in the last decades of the eighteenth century, but the special interest connected with her is the fact that she was the mother of Ary and Henry Scheffer.

<b>SCHEFFER, CAROLINE.</b> The daughter of Ary Lamme and wife of J. B. Scheffer was an artist in the last decades of the eighteenth century, but the special interest connected with her is the fact that she was the mother of Ary and Henry Scheffer.

And when the road forks, ary side, And you're in doubt which one it is, Stand still, and let y'r conscience guide: Thank God, it can't lead much amiss!

Some think we could make, by arrangin' the figgers, A hendy home-currency out of our niggers; But it wun't du to lean much on ary sech staff, For they're gittin' tu current a'ready, by half.

SCHEFFER, ARY, painter, born at Dordrecht, of German and Dutch parentage; settled in Paris; began as a genre-painter; illustrated Dante, Goethe, and Byron, and in the end painted religious subjects; he did excellent portraits also; was of the Romantic school (1795-1858).