the Gothic pieces in the collection, is deserving of something better than the left-handed compliment of a comparison with painting. In their masterly filling of the allotted space, in the fine subordination of the varied details to the general effect, as well as in the loftiness and intensity of the emotion expressed, these glorious products of the loom are worthy exemplars of the highest ideals of mural decoration no less than of the aristocratic art of tapestry-weaving. Reflections such as these are the natural consequence of a comparative study of art, and these and kindred reasons are the impelling causes prompting one to exhibit, not only tapestries, but rugs and textiles of all kinds, in an art museum and to give them the same serious study one would accord a Leonardo, a Giotto, a Rembrandt. Æsthetically and racially, they are no less revealing and frequently more interesting in that they are the products of the earliest expressions of those æsthetic impulses the manifestation of which has come to be called art; nor are they less authentic and expressive because communicated with the force and directness of the primitive loom, which give to all its products a certain character and worth rarely equaled by the more sophisticated products of the so-called fine arts. It is our hope that this catalogue will serve as a helpful guide to all those wishing to make such use of this collection. Every serious student of the subject no less than every unbiased specialist will, I am sure, appreciate at its true worth the scholarly work done by Dr. Ackerman, whose researches have made such a text possible. Bringing to the task a critical judgment and a scientific method of analysis hitherto applied almost exclusively to the identification and interpretation of primitive paintings, the author has been able to correct several well-established errors and to throw new light on many doubtful and obscure points which are so well documented as should make them contributions of permanent value to the literature of the subject.