out how much they would need to be comfortable on the remainder of their lives, which fixed the price of their investment. Tabor, however, found that he could not quit this fascinating life, so he bought the Matchless Mine at Leadville for one hundred and seventeen thousand dollars, and in a year he had added nearly seven hundred thousand dollars to his wealth. Field, Leiter & Company of Chicago joined him in a number of mining ventures, all of which were immensely profitable. In 1879 he began to make purchases in Denver that had much to do with the rapid growth of this city. He paid thirty thousand dollars for the lots at the corner of 16th and Larimer Streets, upon which he erected what was the finest building of that time, known now as the Nassau Block. He sent all the way to Ohio for the sandstone that went into the building, the quarries of beautiful marble and stone in our mountains not then having been opened, or he would have used it, for he always wanted the best. He paid forty thousand dollars for the residence and block of ground, on a portion of which the Broadway Theater now stands; the ground alone so purchased is now worth one million dollars; its value in another thirty years--but that is another story, and it will be told when the hand that moves this pen lies silent. He purchased the location at 16th and Curtis Streets for a Theater Building, and sent Chicago Architects abroad to study the plans of the theaters of the Old World and their furnishings, with the result that a building was erected and equipped that was the talk of the entire country. The opening of the theater was one of the greatest occasions held in the West up to that time. Emma Abbott came all the way across the Continent with her Opera Company for the event. The newspapers everywhere devoted space to it and Eugene Field celebrated it in verse. The picture of Horace Tabor was placed just over the inner entrance, where it hangs to this day and where it should remain while the building stands. At the time of its erection it was considered to be the most perfect and convenient in arrangement of any theater in the United States. The boxes and proscenium were all finished in solid polished cherry wood. The drop curtain was painted by an eminent artist who came to Denver for that purpose; it was adorned with a picture of moldering ruins of Ancient Temples with a motto underneath containing a sermon in the following impressive quotation from Kingsley: "So fleet the works of man; Back to the earth again Ancient and holy things Fade like a dream."