We are all aware that Chatham Street and the Bowery are the legitimate abiding places of those benevolent Hebrews, whose zeal for the public welfare, and pity for ragged humanity, lead them to continually offer their valuable and undoubtedly durable articles of wearing apparel to the needy public "below cost;" and the enviable philosophy with which they bear the "alarming sacrifices" which must daily deplete their ample fortunes, has often been the subject of wondering remark.

The question, what becomes of these philanthropic tradesmen after their ultimate impoverishment, which of course must speedily supervene, is a fruitful subject for the investigation of some inquisitive mind. The charitable supposition is, that as soon as their pecuniary ruin is effectually accomplished, they retire to the shades of private life, happy in the consciousness of having done their little utmost to benefit the human race; seeing in each well dressed man, a perambulating monument of their beneficence, and in each ragged urchin, cause of regret that their altered circumstances cannot afford him a better pair of breeches.

But these Israelitish avenues before mentioned, are not only the headquarters of these philanthropic gentlemen, but are the depot for many other imitations of humanity, and curious specimens of human skill unknown to the unobserving.

Here abound those impassive wooden Indians of some tribe extinct, save in these civilized localities, who stand in the doors of seven by nine tobacco-factories, offering in persevering silence perpetual bunches of basswood cigars to the passer-by.

Here are plentifully sprinkled multitudes of three-cornered shops where patient and eager women, so sharp and shrewd at a bargain, that he who buys must have all his wits about him, offer for sale the most incongruous assortment of second-hand property; from a last year's newspaper to a complete library, from a pint-cup to a seventy ton yacht, from a brass night-key to a steam-engine.

Here too, almost every other doorway is ornamented with daguerreotypes of distinguished personages—negro-dancers duly equipped with banjo, tamborine and clappers—militia officers rigged out in all the glory of feathers and tinsel—supreme rulers of Know-Nothing Lodges, resplendent in the full regalia of that astute and sapient order—and whole dozens of pictures of the beauteous model artists who exercise their modest calling in that vicinage; whose names are fanciful enough, but whose physical embellishments are not always the ones commonly attributed to the mythical characters they represent.

"Kitty Clover" with splay-feet and dirty silk tights as "Venus Rising from the Sea," "Lilly Dale" cross-eyed and knock-kneed, as the "Greek Slave"—"Kate Kearney," with eyes rolled up, mock-pearls in her hair, in an attitude which must be exceedingly trying, as "Morning Prayer," or a trio of clumsy squaw-like damsels with smirking faces and stumpy limbs, as the "Three Graces."

Not only are all these works of art exhibited gratis by the public-spirited habiters of Chatham Street and the Bowery, but they have an infinity of other exhibitions, which cannot be classified as either gratuitous, theatrical or amphitheatrical, to see which a fee is demanded, moderate but peremptory, trifling but inevitable.

These consist principally of ferocious beasts captured by heroic men, and brought from their native fastnesses to astonish the city people—of deformed and monstrous beings which should be human, but whom nature has sent into the world destitute of arms or legs, or vital organs, the lack of which makes these curtailed individuals objects of wonder, of mystery, and of three-cent speculation—and of various animals, human and otherwise, trained to perform unheard of feats of strength, agility, or juggling sleight.

The whereabouts of these interesting prodigies is made known by huge paintings on nobody-knows-how-many square yards of canvass; and generally by a decrepit hurdy-gurdy played in a masterly manner by the enterprising proprietor, who occasionally varies his performance by reciting at the top of his voice the leading attractions of his exhibitions, and extending to the bystanders a general invitation to walk in, and get their money's worth.

Reader, whose dainty musical and dramatic tastes, our theatrical and operatic managers fail to gratify; who have laughed your fill at Burton, and at Forrester; who have tired of Vestvali, Steffanone, D'Ormy, and the rest; who have grown sick of Badiali, impatient of Brignoli, and tired of both; who have ceased to interest yourself in the "Happy Family" either at the Academy of Music or at Barnam's; whose sickened ear is fatigued with the burnt-cork lyrics of Christy, Buckley, and their sooty accomplices in questionable harmonies; you, who know every inch in the circle of fashionable amusement, and long for some novelty to break the monotony of the tedious track; pray discard the Shanghae coat, don a more sensible and less noticeable garb, step from the Broadway sphere to the Bowery precincts, and there look upon wonders hitherto unknown, and which will heartily astonish your bewildered optics.

Let us begin with the Anacondas, and the "only living Rhinoceros;" let me speak, and you hold your breath, and marvel.

Pause ere you enter the apartment containing these prodigies of Natural History—these dread-inspiring denizens of the mighty rivers and impenetrable morasses of the tropics, examine carefully the gorgeous painting which decks the outside of the building.

How majestic in design! how masterly in the execution! Criticism is silent, and we can only speak to commend.

Observe the brilliancy of the coloring; the vivid red and yellow spots upon the serpents, which wind their powerful folds about that noble charger—(you thought it was a windmill? No, Sir! I have inspected it carefully, and I am positive it is intended for a horse.)

See with what an air of stolid placidity, and sleepy complacency, his rider, the gallant Indian Chief (you took him for the "Fat Boy"?—the mistake is perhaps excusable, but it is not the "Fat Boy,") draws his arrow to the head to pierce the slimy monster; (arrow? you imagined it a fish pole? wrong, my friend, palpably wrong, the instrument may suggest fish-pole, but it is undoubtedly meant for arrow;) whose tail, the artist, with a noble disregard of the principles of perspective which stamps him as an original genius, has caused to rest upon a mountain twenty miles in the distance.

Notice how the other monstrous reptile has twined himself in the branches of the palm-tree—(it looks like a hickory-broom. No, sir! "it is no such thing"—it is most emphatically a tree—) and with his fiery tongue thrust from his gaping jaws, (of course it's a tongue, and you need not assert that it resembles a barber's pole with the end split up, for it doesn't,) is about to make a frightful descent upon the other steed. (Another horse? Yes, sir! another horse, although you assert it to be meant for a cider barrel on a three-legged stool.)

Admire the elegant yet terrible proportions of the mighty Rhinoceros, as he stalks majestically through the tall jungle-grass (you thought that was a terrier dog looking for rats in a barn-yard, did you? Well, my friend, the resemblance certainly is striking, but do not disparage the artist, who is undoubtedly much more familiar with terrier dogs than with the other brutes, and don't find fault with the Rhinoceros because he isn't bigger than a dog, for you perceive that if he had been represented the proper size he would have covered up the snakes, hidden the Indian from our sight, and rendered the landscape invisible.)

We pay our money and go inside. What, though, upon seeking the realization of this promise of novelty, instead of the living rhinoceros we see only the dried and shrivelled skin of what was probably once a hog? and the ferocious reptiles of fabulous size shrink into a couple of exaggerated angleworms?

Let us not find fault with the showman who is only carrying on a popular business on too small a scale to be honest. He should increase his stock of curious swindles, tell bigger stories and more of them, humbug a hundred people where now he swindles one, and so make his business honest and respectable.

Our attention is next claimed by the man without any arms, who is advertised to possess tremendous strength, and can do more things with his feet than most people can with their hands; who can draw, paint, load a gun, play the piano, violin, and accordeon, cut likenesses, put on a clean collar, shave himself, tell fortunes, set type, and saw wood.

Do not grumble if, instead of an admirable Crichton, whose accomplishments are to provoke your envy, you see only a miserable cripple, necessitated by poverty and inability to work, to make an exhibition of his deformity, and the poor devices to which he is driven, to supply, in some slight degree, the absence of his limbs.

Don't forget to see the "Living Skeleton," who has seen two score years, only weighs twenty ounces, and is so thin that when he is undressed he is invisible to the naked eye.

Visit also the dancing bears, the performing dogs, the wax figures, the mineralogical, geological, and conchological collections; see the female minstrels; the alligators, who have devoured in their native country an army of men, a multitude of women, and a myriad of nigger pickaninnies; see the magician who turns chickens into mugs of ale, and transmutes iron soup kettles into purest gold; the girl who dances a hornpipe on a drum-head, amongst a dozen eggs and never breaks any; the man who swallows a sword for his dinner, and lunches daily on jack-knives and gimlets; the boy who can tie his legs in a bow-knot on the back of his neck.

Go to see the individual who balances a ladder on the end of his nose, and his canine friend, who courageously ascends to the top thereof, and barks defiance to the world,—the juggler who tosses the balls and butcher knives,—the Chinaman who throws flip flaps by the dozen, and makes a human cart-wheel of himself in the air, between heaven and earth, like Mahomet's coffin;—the learned Canary-birds which draw water, fire off guns, ring bells, and cut up all sorts of unnatural antics to earn their daily cuttlefish bone and loaf sugar; take a regular round of Bowery three cent amusements, glut your taste for novelty, take the edge off your curiosity, laugh at the bombastic humbugs enough to last you for a month; and then when the conglomeration of unaccustomed sights and sounds has tired out your aristocratic senses, go back to the Fifth Avenue world again, convinced that all the fun of the city is not located in Broadway or Chambers Street, or all the humbug concentrated between the City Hall Square and Maiden Lane.