WE took passage in a Cincinnati boat for New Orleans; or on a Cincinnati boat--either is correct; the former is the eastern form of putting it,the latter the western.

Mr. Dickens declined to agree that the Mississippi steamboatswere 'magnificent,' or that they were 'floating palaces,'--terms which had always been applied to them; terms which did notover-express the admiration with which the people viewed them.

Mr. Dickens's position was unassailable, possibly; the people'sposition was certainly unassailable. If Mr. Dickens wascomparing these boats with the crown jewels; or with the Taj,or with the Matterhorn; or with some other priceless or wonderfulthing which he had seen, they were not magnificent--he was right.

The people compared them with what they had seen; and, thus measured,thus judged, the boats were magnificent--the term was the correct one,it was not at all too strong. The people were as right as wasMr. Dickens. The steamboats were finer than anything on shore.

Compared with superior dwelling-houses and first-class hotels inthe Valley, they were indubitably magnificent, they were 'palaces.'

To a few people living in New Orleans and St. Louis, they werenot magnificent, perhaps; not palaces; but to the great majorityof those populations, and to the entire populations spread overboth banks between Baton Rouge and St. Louis, they were palaces;they tallied with the citizen's dream of what magnificence was,and satisfied it.

Every town and village along that vast stretch of doubleriver-frontage had a best dwelling, finest dwelling, mansion,--the home of its wealthiest and most conspicuous citizen.

It is easy to describe it: large grassy yard, with palingfence painted white--in fair repair; brick walk from gateto door; big, square, two-story 'frame' house, painted whiteand porticoed like a Grecian temple--with this difference,that the imposing fluted columns and Corinthian capitalswere a pathetic sham, being made of white pine, and painted;iron knocker; brass door knob--discolored, for lackof polishing. Within, an uncarpeted hall, of planed boards;opening out of it, a parlor, fifteen feet by fifteen--in some instances five or ten feet larger; ingrain carpet;mahogany center-table; lamp on it, with green-paper shade--standing on a gridiron, so to speak, made of high-colored yarns,by the young ladies of the house, and called a lamp-mat;several books, piled and disposed, with cast-iron exactness,according to an inherited and unchangeable plan; among them,Tupper, much penciled; also, 'Friendship's Offering,'

and 'Affection's Wreath,' with their sappy inanities illustratedin die-away mezzotints; also, Ossian; 'Alonzo and Melissa:'

maybe 'Ivanhoe:' also 'Album,' full of original 'poetry'

of the Thou-hast-wounded-the-spirit-that-loved-thee breed;two or three goody-goody works--'Shepherd of Salisbury Plain,'

etc.; current number of the chaste and innocuous Godey's'Lady's Book,' with painted fashion-plate of wax-figurewomen with mouths all alike--lips and eyelids the same size--each five-foot woman with a two-inch wedge sticking fromunder her dress and letting-on to be half of her foot.

Polished air-tight stove (new and deadly invention), withpipe passing through a board which closes up the discardedgood old fireplace. On each end of the wooden mantel,over the fireplace, a large basket of peaches and other fruits,natural size, all done in plaster, rudely, or in wax,and painted to resemble the originals--which they don't. Overmiddle of mantel, engraving--Washington Crossing the Delaware;on the wall by the door, copy of it done in thunder-and-lightningcrewels by one of the young ladies--work of art which wouldhave made Washington hesitate about crossing, if he couldhave foreseen what advantage was going to be taken of it.

Piano--kettle in disguise--with music, bound and unbound,piled on it, and on a stand near by: Battle of Prague;Bird Waltz; Arkansas Traveler; Rosin the Bow; Marseilles Hymn;On a Lone Barren Isle (St. Helena); The Last Link is Broken;She wore a Wreath of Roses the Night when last we met;Go, forget me, Why should Sorrow o'er that Brow a Shadow fling;Hours there were to Memory Dearer; Long, Long Ago; Days of Absence;A Life on the Ocean Wave, a Home on the Rolling Deep; Bird at Sea;and spread open on the rack, where the plaintive singer has left it,RO-holl on, silver MOO-hoon, guide the TRAV-el-lerr his WAY, etc.

Tilted pensively against the piano, a guitar--guitar capableof playing the Spanish Fandango by itself, if you give it a start.

Frantic work of art on the wall--pious motto, done on the premises,sometimes in colored yarns, sometimes in faded grasses:

progenitor of the 'God Bless Our Home' of modern commerce.

Framed in black moldings on the wall, other works of arts,conceived and committed on the premises, by the young ladies;being grim black-and-white crayons; landscapes, mostly:

lake, solitary sail-boat, petrified clouds, pre-geological treeson shore, anthracite precipice; name of criminal conspicuousin the corner. Lithograph, Napoleon Crossing the Alps.

Lithograph, The Grave at St. Helena. Steel-plates, Trumbull'sBattle of Bunker Hill, and the Sally from Gibraltar.

Copper-plates, Moses Smiting the Rock, and Return of theProdigal Son. In big gilt frame, slander of the family in oil:

papa holding a book ('Constitution of the United States');guitar leaning against mamma, blue ribbons fluttering from its neck;the young ladies, as children, in slippers and scalloped pantelettes,one embracing toy horse, the other beguiling kitten with ballof yarn, and both simpering up at mamma, who simpers back.

These persons all fresh, raw, and red--apparently skinned.

Opposite, in gilt frame, grandpa and grandma, ............