given us permission to make public the cost of his collections, which,
we doubt not, will be a revelation to many. In August of last year we
gave a long description of the Slater Memorial Museum, not then quite
completed, from which it was evident that within the lines laid down by
Mr. Slater, by which it was determined that the collection should
contain only reproductions, and no original works, there were no
restrictions as to expense. The works selected were to be the best of
their kind, and were to be set up and arranged in the most effective
manner possible. The number of objects was to be limited only by the
size of the building.

The useful little catalogue of the casts in the Museum, prepared by Mr.
H.W. Kent, the curator, to whom we are indebted for the figures which we
shall quote, shows 124 numbers in the Greek and Roman section, and 103
in that of the Renaissance. Among these are some of the largest casts
made, such as the selection from the Pergamon reliefs, the Nike of
Samothrace and the Font of Siena. They were all made expressly for the
Museum, and imported from London, Paris, Berlin, Munich, Florence, Rome,
Naples and Athens. In addition to these, there is a complete collection
of the British Museum electrotypes of Greek coins, handsomely mounted,
and the nucleus of a collection of photographs, about 600, including the
best plates of Braun, Naya, Brogi and other celebrated photographers.
Most of the statues are mounted on revolving pedestals; two hundred and
fifty of the photographs are exhibited in individual frames, the backs
of which are movable, that the exhibition may be varied as often as
desired; and, owing to the lack of wall-space, draperies have been hung
extensively throughout the hall, the material of which is heavy raw
silk. We mention these facts only to show that economy was not a
consideration in the execution of the Museum, and believe that our
readers will be the more surprised to learn that its _gross_ cost to Mr.