There are precedents for the treatment of this sort of thing as library material. Probably Hough’s well-known work on American Woods will occur to everyone. No library, so far as I know, has ever thought of barring this from its shelves because it contains actual thin sections of the various woods instead of pictures thereof. The peculiar adaptability of this kind of material to library use is a physical one, and is shared by every flat specimen that may be mounted on sheets. Instances will occur to every one. An actual flower or leaf, for example, is generally cheaper than a color reproduction of it, and takes up little more room when mounted. A good descriptive botany with inadequate pictures may well be supplemented by a herbarium of this kind. Historical material is quite generally flat--often written or printed on card or paper--old programs, menus, railroad tickets, dancecards, timetables, cards of admission, souvenirs of all kinds. One of the most interesting exhibitions I ever saw was of foreign railway material--timetables, tickets, dining-car menus, etc. Many Chinese and Japanese specimens were included. A treatise on forms of railway tickets, with fac-simile illustrations, would be eagerly sought by libraries; why should not the objects themselves be equally valuable? Librarians were glad to have Miss Kate Sanborn’s book on old wall papers, with its realistic reproductions, but how many of them thought of the possibility of making their own books of specimens, using the papers themselves, instead of photographic facsimiles thereof? This point of view may be commended to the makers of decorated bulletins in libraries. Much laborious hand-work is often done in the preparation of these, and the results are seldom worth the trouble. Even when a work of art has been produced it may be questioned whether the time withdrawn from other library work has been employed to the best purpose. By the use of what has been called above “museum material” time may be saved and better results reached. For instance, I once saw, in an exhibition of picture bulletins one bearing a list of books and articles on lace. It was made in white ink on black cardboard, and bore a most realistic representation of lace, done with the pen, probably at a vast expenditure of time. The most that could be said for this really clever bit of work was that it looked enough like a real piece of lace, mounted on the cardboard, to deceive the elect at a short distance. Why then did not the maker mount a real bit of inexpensive lace on the board, at an expenditure of a few minutes’ time? It should not require much thought to see that bulletins prepared in this way are usually better and more effective than elaborate decoration with pencil and brush.