THIS unique and classical repository, was erected in 1812, by the celebrated Mr. Bullock, the proprietor and collector of the well known establishment, so long a favourite with the British metropolis, under the name of "The London, or Bullock's Museum;" since the latter collection was sold off, the rooms have not been confined to any particular object, but have been let for a variety of purposes, though principally for the exhibition and sale of curiosities in nature and art; among which, that of "ancient and modern Mexico" was the object of public attention during our enquiries, and appears to be decidedly the most interesting.

This rare assemblage was collected by Mr. Bullock, during a residence, which he made at Mexico, in the year 1823, for the express purpose; and had the sanction and support of the Mexican government. The jealousy which has so long existed among the inhabitants towards foreigners, has almost effectually prevented any decisive information being obtained respecting their interesting and classical country. However, a more liberal system of government has facilitated the intercourse with foreigners, and, already, her sources of wealth are opened to our enterprising nation.

The panoramic view of the City of Mexico is the prominent object which arrests the attention of the visitor on his entrance into the Hall. In the view,

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which is the first that, as yet, been ever exhibited, of one of the finest cities in the world; the peculiar tints of the atmosphere, and the exact proportions of the mountains, as they strike the beholder's eye in the original scene, have been given with a peculiar fidelity. Exactly in front of the panoramic view, in order to heighten the deception, and to bring the spectator actually amidst the scenes represented, a fac simile appears of a Mexican cottage and garden, with the trees, flowers, and fruit; they are exactly the size of their natural models, and bear an identity not to be mistaken. To give the scene still more the appearance of real life, and to fill up every void in the imagination, a Mexican Indian, in his native costume, is seen moving about, as if in his customary occupations; in short, nothing is wanting to pursuade the spectator that he is actually transported from the smoke of Piccadilly into the luxuriant plains of Mexico.

Besides these objects of peculiar interest, the exhibition is particularly rich in models, and representations of the fruit, costume, caparisons, furniture, and in fact, every thing that can be recorded curious or interesting with the arts or industry of this little-known country. The fruit is, in general, of a most extraordinary size, and gives a proof of the luxuriancy of the climate. Birds, beast, fish, and other natural productions are regularly classified, and are in most excellent preservation; that of the feathered tribe are peculiarly beautiful, and almost serve to give the whole of the extraordinary representation the appearance of a scene of enchantment.

Among the objects exhibited most likely to excite the visitor's curiosity, may be distinguished the following, which belong exclusively to that portion of the exhibition, entitled, MODERN MEXICO.

Case 1.-A Mexican saddle, formerly belonging to General Iturbide, late Ex-emperor of Mexico.

No. 2. Childrens toys, made by the Indians-very ingenious.、

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No. 3.-Models of the different classes of Indians and their costume, modelled by a lady of that city, in cloth, in a very curious manner. Group of Figures are:-first, a man and woman of the highest class of Indians, going to church on a holyday: second, an Indian family returning from market: third, an aged Indian and his wife going to market.

No. 4.-A Mexican dog, in a small glass-case. It is found wild, though rarely, in the mountains north of Durango.

No. 5.-Coronation medals of Mexico, presented by General Iturbide, late Ex-emperor of Mexico.

In the same case is a Group of Figures representing a Female, richly attired, about to sacrifice herself on the pile of her deceased husband. This curious article is made of silver in a state of amalgamation; it was modelled by the Indians with wooden tools, and afterwards pointed this method of working in silver is not known in Europe. Presented by Count de Regla. No. 7.-A case containing a very fine specimen of the Rock Cod, and several of the smaller Fishes of the lake.

No. 8.-The Dolphin, the colour is remarkably brilliant, but changes frequently when dying.-In the same case are other curious Fish, and a fine specimen of the shell called the Angel'd Wing Pholas.

No. 9, 10, and 11.-Shell Fish, Lobster, Land Crab, &c.-Dolphins and the Salmon Fish.-Hippocampus, or Sea Horse-The Porcupine Fish— The Trunk or Cow Fish-Spanish Mackerel-Salt Water Pike-and several smaller Fishes of the lake, with specimens of Sea Weed, &c.

No. 12.-The Murena Eel-The Flying Fish-Sucking Fish, so called from its attaching itself to others, and bringing them to the surface of the water-The Porcupine Fish, a very fine specimen.

BIRDS.

No. 13.-The Frigate Pelican, or Man of War Bird-and the Booby. No. 14. A general collection of all the smaller birds procured in Mexico: among which are the crimson-shafted Woodpecker-Scarlet-crowned Flycatcher-Red-winged Starling, or Maize Thief.

No. 15.-The remaining Quadrupeds are contained in this case, and comprise two varieties of that singular animal the Armadillo; two different Squirrels, one entirely black; a small Monkey, and a species of Felis. No. 16.-Are different kinds of Falcons.

No. 17.-Humming birds; presenting an assemblage of the most splendid as well as the most diminutive creatures in this tribe of creation, of which this collection contains about one hundred and seventy individuals, arranged in the most beautiful manner from life. Many of these were taken in the immediate neighbourhood of the capital, where they are by no means uncommon; above seventy of them were kept for some time in a living state. The view painted on the back of this case is the silver mine of del Bada, near Themascaltepec, presented to Mr. Bullock by the Mexican Government, and now working by his son.

The cases from No. 23 to 44 are chiefly occupied with various beautiful specimens of fruit, which are in general the natural production, except where the real article could not be procured, when its place is filled by a scrupulous and faithful tribute. No. 45 and 46 are, perhaps, the most valuable divisions of the collection, as they contain specimens of the minerals from the mines of the Counts Vallentiana and Regla.

No. 47-.A saddle, known in Mexico by the name of Cortez's Shield, from having been used by him to defend the body of his horse from the arrows of the Indians.

Nos. 48, 49, and 50.--These cases contain the elegant equipment of a Mexican cavalier, consisting of the richly embroidered saddle, bridle, superb boots, enormous spurs, &c. &c.; with various articles of the state.

No. 52.-A Paysana playing on the guitar, beautifully modelled in wax, by the native Indians.

No. 53. A native Indian from the interior of the country beautifully modelled.

No. 54.-An Indian Woman, ditto.

No 55.-Mexican Gentleman on horseback and on foot, in the full costume of the country, very finely modelled.

No. 56.-A beautiful young female Creole dancing.

Nos. 57 and 58.---An Indian brush maker, and his wife.

No. 59.-A beautiful model of a favourite Mexican Horse, the property of the Count of Regla, executed by an Indian, and presented to Mr. Bullock by the Count.

No. 60.-A glass shade, containing a male and female Mendicant, perfectly true to nature, and beautifully modelled.

No. 61.-Glass shade, containing, 1. Silver Ore, as taken from the mine; also powdered, previous to amalgamation; and the same as in a state of amalgamation. 2. Silver extracted from the ore by quicksilver, and united with it.

No. 62.-Imitation of Gold Ore as taken out of the river

Among the curiosities of ANCIENT Mexico, the GREAT SERPENT, No. 63, is the most extraordinary, and Mr. Bullock affirms it to be the finest ever known to have existed of that most horrible of reptiles. It is coiled up in an irritated erect position, with the jaws extended, and in the act of gorging a well dressed female, who appears in the mouth of the enormous reptile, crushed and lacerated, the detail of which is too disgusting and horrible for description..

THE COLOSSAL IDOL (No. 63), is copied from, and is of the same size as the head (No. 64). It is upwards of 8 feet in circumference in the body, and 60 feet long; and though divested of some of the most offensive parts, will serve to give the public an idea of the monstrous deities of these people.

No. 65. The great Idol of the Goddess of War, before which thousands of human victims were annually sacrificed on the altar. This monstrous Idol is, with its pedestal, about twelve feet high, and four feet wide; it is sculptured out of one solid piece of grey basalt. Its form is partly human, and the rest composed of rattle snakes and the tiger. The head, enormously wide, seems that of two rattle snakes united; the fangs hanging out of the mouth, on which the still palpitating hearts of the unfortunate victims were rubbed as an act of the most acceptable oblation. The body is that of a deformed human frame, and the place of arms is supplied by the heads of rattle snakes, put on square plinths, and united by fringed ornaments. Round the waist is a girdle, which was originally covered with gold; and beneath this, reaching nearly to the ground, and partly covering its deformed cloven feet, a drapery entirely composed of wreathed rattle snakes, which the natives call cohuatlicuye, or garment of serpents-on each side of which is a winged termination of the feathers of the vulture. Between the feet, descending from the body, another wreathed serpent rests its head on the ground; and the whole composition of this deity is strictly appropriate to the infernal purpose for which it was used, and with which its personal ornaments but too well accord. From the neck, spreading over its deformed breast is a necklace composed of human hands, hearts, and skulls, fit emblems of the sanguinary rites that were daily performed in its honour.

No. 66.-The Great Sacrificial Stone, or Altar, ornamented on the surface with the representation of the Sun; and on the sides, with numerous groups of figures, exhibiting the Mexican warriors dragging their prisoners to sacrifice.

No. 67. THE GREAT KALENDAR STONE. This fine specimen of Mexican workmanship and knowledge, was found in the Plaza Major, under the pavement on the site Teocalli, or Temple, and not being visibly connected with the ancient religious rites, was allowed to be placed against the south side of the Cathedral. It is formed out of a heavy basaltic rock, and is upwards of 36 feet in circumference, exclusive of part of the unsculptured stone on which it is cut, and which still remains attached to it. It weighs more than five tons, and the modern Mexicans speak with surprise of the power of the ancients in moving such ponderous masses. This celebrated piece of antiquity is known to the Indians by the name of Montezuma's Watch. In the centre of this immense tablet (larger than the Zodiack of Denderah) is represented the figure of the Sun, the rays in the direction of the Cardinal points; round the head the seasons are exhibited in hieroglyphics, and, in the next circle, the name of the twenty Mexican months of eighteen days, thus making the calculation of time, nearly the same as ours-a remarkable coincidence in a people who were ignorant of the existence of the other three quarters of the world. The use of iron was unknown to the people

of America; and the examination of the sculptured blocks of basalt and porphyry, must therefore surprise us the more.

No. 68.-Model of the Temple.

No. 69.-Copy of a very fine Azteck Manuscript, on Maguey, in 21 folds, or leaves, on which are depicted the migrations of that extraordinary people; it is considered in Mexico as the most perfect and valuable one of the kind extant. It encircles the room.

No. 70.-An Oil Painting, formerly in the collection of the Chevalier Boturini, for whom it was copied.

No. 71. The centre of this is occupied by a Mexican Wheel Kalendar, or cycle of time; the exterior is a cycle of 52 years, the interior the cycle of Mexican months, each consisting of twenty days.

No. 75.-Cortez in Mexico. This Picture represents several different subjects in the History of the Conquest; the principal is the Spanish Quarters, in which is seen Cortez placing the fetters on Montezuma; the Mexican Sports before Cortez; the Great Temple, &c.

No. 76.-The Mexican Eagle. The city of Mexico has always been represented by the Eagle; it occurs frequently in the Azteck writings. This figure is believed to have been placed in the palace of Montezuma.

No. 101.-Model of the pyramid of the Sun, or St. Juan de Teotituacan. Our remarks, and the number of interesting objects in the exhibition, have almost prevented us from mentioning that it contains, besides forms, where a collection of pictures by the great masters, books of curiosity, art and virtue; and constantly on sale, a very interesting

EXHIBITION OF CASTS AND PICTURES BY MR. DAY.

Mr Day's is a small but interesting collection, affording a good opportunity of estimating the relative effects produced by two of the noblest imitative arts. Two or three very fine pictures, and three or four, beautiful casts--from the antique, the middle ages and our own times are placed here, side by side.

Among the casts is the Achilles, (resembling the figure, which has been moulded in bronze, and set up in the Park, has been so denominated)---a muse, with a masque in her hand; and one of the colossal horses from the famous Monte Cavallo Group, at Rome. These are, besides, the Moses of Michael Angeló; Lorenzo de Medici, by the same extraordinary hand; a Christ bearing his Cross, also by Michael Angelo; and the delicious group of "the Graces," by the lamented Canova. Notwithstanding the lofty proportions of Mr. Bullock's rooms, the casts from the antique strike the spectator as overwhelming and gigantic. The horse attributed to the divine hand of Phidias is nothing short of an absolutely magnificent formation.

In contemplating the stupendous dimensions of these figures, we are naturally impressed with admiration for the skill which has known how to preserve the most exact proportion between parts of so prodigious a mass and surface, as those that have here been combined. But we are struck with equal veneration, at least for the majestic conception that has not only imagined forms thus far surpassing the standard of nature's creation---but that has imparted to the images of ideal and super-human persons an air of diviner mind and energies of thought, apparently supernatural; and yet to be traced in the lofty and beautiful expression, that the wonderful age of Grecian excellence has given to its most superior productions. The vaulting ambition of our time is hardly consistent with itself, when, in statuary, it shrinks from all approach to that colossal missiveness which is a primary element of the sublime.