per stories, the entire floor of the three buildings thus forming an extensive hall, which would be a parallelogram of 220 by 92 feet but for the four staircases which occupy the four corners. Approaching the building from the Fifth Avenue side, we ascend a flight of temporary wooden steps to the level of the vast main floor, and enter the Hall of Ancient Statuary. The vestibule, as it may be called, is between the staircases which lead up to the picture-galleries, of which two are above in the east wing, and two on the same upper floor of the west wing. Cases containing the treasures of Cypriote inscriptions, the priceless remains of a lost alphabet, are on the right and left as we advance. The entire vista of 220 feet on the main floor to the western entrance from the Park is open before us, and a few steps forward we find ourselves suddenly transferred from New York to the presence of the art of Phoenicia and Greece. Around each of the large columns which separate the vestibule from the corridor, or Hall of Ancient Statuary, and this from the grand central hall, are plate-glass cases, covering statues and protecting them from the decaying influences of our climate. It was found in Fourteenth Street that disintegration was rapidly progressing in all the bronzes and calcareous stones of Cyprus: air-tight inclosure was essential. A few more years of exposure would unquestionably have ruined all the statuary and much of the bronze. The Hall of Ancient Statuary, 92 by 27 feet, is arranged in such a way as to make the effect stately and impressive. The cold eyes of the old Phoenician gods are void of expression, but every one of the stone priests of the old worship smiles with that cynical smile which makes every beholder ask himself involuntarily what there is about him, or about us modern Americans, to provoke that life-like and uniform expression on every Phoenician face. Is it fun? Is it the oddity of finding themselves imprisoned in such way? Is it contempt? In the middle of the corridor stand four massive sarcophagi. One of these, from Amathus, coming in the second collection, has never been exposed to sight since it left Cyprus until now. It is one of the most valuable specimens of ancient workmanship hitherto found in the East. The character of the art exhibited in its sculptures is Asiatic, and as such its presence in a Cypriote tomb is peculiarly interesting. It appears to have been made in Persian taste, possibly for a Persian satrap. No one who sees it will think umbrellas a modern invention, for among the figures in chariots is one over whom another holds a veritable umbrella. There is an odd puzzle, too, about this. Whether the satrap holds it over a servant, or the servant over the lord, is an archæological riddle. Another sarcophagus, with rich sculpture, is specially valuable for the low flat relief, which indicates a late period of archaic work, of which specimens are so rare that General Cesnola was offered thirty thousand dollars for this single object by one of the most celebrated European museums. He is inclined to place it in point of time as contemporary with the Ægina marbles. The colossal Hercules never looked as grand as now, even in the days of his perfection. His shattered form is more impressive for its injuries. None who have only seen these statues in the old Conservatory in Fourteenth Street can be said to have seen them. There they were a mass of old stones huddled together. Here they are treated with the respect due to the art of two and three thousand years ago, and they seem to recognize the attention, and assume their ancient dignity. Passing between the statues which surround two of the columns, we enter the grand hall. The light which pours through the glass roof is judiciously screened by immense curtains covering the western half. Two light and strong galleries of iron run along the north and south sides of the hall, opening at their ends by doors into the picture-galleries. The open floor not under the galleries is occupied by the loan collection, in table cases, and in high, square, or oblong cases, all built of plain ebonized wood in severely simple taste. To rescue from its nakedness a vast hall of iron columns and arches supporting a glass roof eighty-five feet from the floor, and make it a really attractive museum of art, was no easy undertaking. It seems to have been accomplished. The general effect of the vast room is warm, and the eye is satisfied. Under the north gallery runs a continuous line of wall cases, passing in front of the useless side windows, and sweeping around and hiding the iron columns which sustain the roof. In these are arranged the stone objects of the Cesnola collection. The larger heads are in cases under the front of the gallery. The second collection greatly increased the number and value of the statuary collection. There are many new portrait heads, and several of the best period of Greek art. The classification of these objects, as well as the whole Cypriote collection, has been completed by the director, so that now the pages of history here open can be read with ease, and in proper sequence. The large number of inscriptions in the Cypriote language will be a surprise to many. Some have been discovered for the first time while arranging the collection. On the south side the arrangement of cases is precisely like that on the north, and here are placed the Phoenician potteries. This wonderful collection now exhibits its historical value. From the Alambra vases and cups, the oldest specimens known of pottery with a lustrous or polished surface, to the magnificent Athenian vase four feet four inches in height, found in the temple vault at Kurium, and then on to the Roman lamps and red wares of the third and fourth century of our era, we have here an art history illustrated by local specimens covering a period of more than fifteen hundred years. Such a history of an art practiced in one small island by successive generations and races may well command the respectful gaze of the most careless visitor. The Cesnola collection has already made necessary the rewriting of much that has been written on the derivations of the arts of Greece. Its store of Cypriote inscriptions has added one to the list of an cient alphabets. It will now continue its work, and we shall not be surprised if, when scholars examine it, as they now have opportunity, we shall be told to revise all we have hitherto believed about Etruscan art. The Philistines are upon us here in all that concerns the arts of men who lived around the Mediterranean in the times when the Greeks were roving pirates. As we entered the main hall we passed cases in which are exhibited a delicious collection of laces, presented to the Museum by a lady of New York, who has kept her name from the public. These are the beginnings of the Museum in showing textile fabrics, which will in time form an important part of its exhibitions. In the centre of the grand hall, all that portion which is not under the iron galleries is devoted to the loan exhibition. This will be varied from year to year. Hereafter the trustees propose to accept loans only for definite seasons, and to make exhibitions permanent during each season. Passing through the grand hall we enter the Hall of Modern Statuary at the western end, corresponding to that of ancient statuary at the eastern end. Here are several fine sculptures, some belonging to the Museum and others to the loan collection. This portion of the exhibition will, of course, be variable, as it depends on the borrowing of sculptures for temporary exhibition until the Museum shall be enabled to purchase and possess works of modern sculptors. Ascending the staircase, we enter the western picture-galleries. Two galleries, side by side, cross the western end of the grand hall. The first, or westernmost gal ST. MARTHA INTERCEDING FOR A CESSATION OF THE PLAGUE AT TARASCON."-[VANDYCK.] the lamented Kensett, which were presented to the Museum, are for the present in the westernmost gallery. lery, is intended to hold an exhibition of | floor. The works of the last summer of American art in painting, and the next is for the present devoted to the loan collection of paintings, which there is no reason to doubt the well-known treasures of New York will from time to time make amply rich and enjoyable. From the latter two doors open upon the broad iron galleries which run along the sides of the great hall, some twenty feet above the If we now choose the north gallery door to lead us across the grand hall to the eastern picture-galleries, we pass out from among the pictures into the light of the glass roof, reflected in a thousand exquisite colors from the Oriental porcelains here shown. These are the latest acqui- | in brilliancy and tenderness of color; sition of the Museum, purchased from S. while in the table cases are the exquisite P. Avery, Esq., and gathered by him with gold and silver work of the Phoenician rare taste and judgment. goldsmiths, and the collection of engraved gems, concerning which Mr. King, the highest living authority, has written: "It is a true revelation of the history of the glyptic art in its rise and progress from the earliest times down to the beginning of the fifth century before our era." The galleries are an immense relief to the appearance of the large hall, and we are not without hope that in time others may be extended across from north to south, virtually dividing the room into two stories. The view from either is now good, and will be brilliant on days when the attendance is large, and many persons are moving on the floor below. Against the wall, from end to end, runs a series of ebony cases containing the porcelains, among which are a few recently received as gifts. They form a very complete illustration of Chinese and Japanese ceramic art. It is marvellous to see this splendor of color and delicacy of workmanship. No acquisition by the Museum could be more important in practical value, none more gratifying to the public. This and the opposite gallery will be favorite places of resort for lovers of the beautiful. Table cases and upright cases contain a splendid array of Oriental carvings and lacquers-a part of the loan collection. In the south gallery, opposite, in similar wall cases, are the glorious specimens of iridescent glass from Cyprus, surpassing diamonds and rubies and opals By whichever of the iron galleries we have crossed the grand hall we now enter the eastern picture - galleries, where is placed the collection of old masters. It is always surprising to see what a difference is effected in the appearance of an object of art by a respectful and appropriate disposition of it. A Raphael standing on a chair in an ordinary room is a mere picture, but when properly hung, it becomes a speaking image. The Dutch and Flemish masters have never since they lived found more effective positions for their works than are here assigned them. The old woman of Franz Hals leans out of her canvas to laugh in the faces of New York ladies. The grief of the exquisite head by Greuze never seemed so pitiful. Flemish ladies in quaint costumes make young people wish they could wear just such laces and dresses now. Rubens, Vandyck, and other mas ART STUDENT COPYING DESIGNS. ters have pure and abundant light, and exhibit their powers in pictures which will stand any amount of criticism. Descending the broad staircase to the main floor, and passing it, we arrive on what is called the basement floor of the building. Here are four rooms for the uses of the institution-one a trustees' meeting room; another for the assistants of the director, who are at work on catalogues and other essential labors; a third for the reception, storage, and unpacking of objects; a fourth for a repair and work shop. These rooms, with the entrance vestibules between, occupy below the same space with the picture-galleries above; while underneath the great hall, and of the same size, 109 by 92 feet, is a noble exhibition-room, amply lighted by large windows on each side. This room occupies the space originally intended to be entirely, and three years ago partially, filled up with rock and earth as the support of the floor of the hall above. It has been assigned to the Industrial Art Department. It is the intention of the trustees to make here, as time and means may permit, a complete illustrative exhibition of various useful and ornamental arts, the materials used in their natural and in their manufactured conditions, the progressive state of the materials and the objects produced from them, together with all such illustrations of incomplete and complete industry as will serve for the practical instruction of the young or the old. This department will be of the highest value to all industries in our city and country. In connection with this have been organized schools of industrial art. These schools have always been a part of the plan of the Museum, but hitherto it has been impossible to undertake them. When our citizens reflect on |