Near the Forbes Avenue entrance is the great central building of the CARNEGIE INSTITUTE, established by Andrew Carnegie with large annual fund, in perpetuity, for purchase of objects of art and scientific collections; built 1892-95, Italian Renaissance, sandstone, architects, Alden & Harlow, enlarged in 1904-07, contains Library, Music Hall, Department of Fine Arts, and the Natural History Museum, in which are large collections of ancient pottery, Chinese glass, and porcelains representing various eras; jades and crystals; valuable collections of coins and medals; illuminated manuscripts and early printed books, cut and uncut gems; one of the largest collections of carved ivory in the United States; and art metal work. The Library operates more than one hundred and seventy agencies for free distribution of literature, within “Greater Pittsburgh.” On top of the building are four bronze groups, representing Science, Art, Literature, and Music. Bronze statues, Michelangelo and Galileo, are at entrance to Art Gallery. Entrance to Music Hall is through exquisitely designed bronze doors, wrought in relief, with bronze statues, Bach and Shakespeare, at either side. These bronzes were designed and modeled in the studio of J. Massey Rhind, and cast in Naples. Foyer to the Music Hall is considered the most beautiful portion of the Institute; here are twenty-four huge columns of Tinos marble, with gilded Corinthian capitals; and one of the finest organs in the world, on which the greatest organists obtainable give concerts of highly classical music, which are free, every Saturday night and Sunday afternoon. The great Archer, Queen Victoria’s Jubilee organist, held this position for many [Illustration: GALLERY OF THE SCULPTURE HALL, CARNEGIE INSTITUTE, PITTSBURGH] years. The Hall of Sculpture, designed on lines of the Parthenon, is two stories high, around the first story is a Greek Doric colonnade; above this is a row of Ionic columns, all of the most flawless, milk-white, Pantelicon marble, dug out of the quarries from which the marble of the Parthenon itself was obtained; collections of sculpture represent, chronologically, its history from early Egyptian to the Renaissance of the sixteenth century.