‘Since the CRACHERODE bequest, which formed the nucleus of the British Museum Print Collections, no acquisition of the kind approaches the bequest of Mr. SLADE in rare and choice specimens of etchings and engravings, wherein nearly every artist of distinction is represented. The collection comprises rare specimens of impressions from Nielli and prints of the School of Baldini; fine examples of some of the best productions of Andrea Mantegna, Zoan Andrea Vavassori, Girolamo Mocetto, Giovanni Battista del Porto, Jean Duvet, Marc Antonio, with his scholars and followers, the master of the year 1466; [Sidenote: G. W. Reid, in Parliamentary Returns of 1869.] Martin Schongauer, Israel van Meckenen, Albert Dürer, Lucas van Leyden, Hans Burgmair, Lucas Cranach, Matheus Zazinger, the Behams, Rembrandt, Vandyck, Adrian Ostade, Paul Potter, Karl du Jardin, Jan Both, N. Berghem, Agostino Caracci, Wenceslaus Hollar, Cornelius Visscher, Crispin and Simon de Passe, S. à Bolswert, Houbraken, L. Vorsterman, Jacques Callot, Claude Mellan, Nanteuil, George Wille, Faithorne, Hogarth, L. A. B. Desnoyers, F. Forster, Sir R. Strange, William Woollett, Porporati, Pefetti, Pietro Anderloni, Raphael Morghen, Giuseppe Longhi, Garavaglio, and others. There are also some rare English portraits and book-illustrations. [Sidenote: THE SPECIMENS OF PRINTING AND BINDING IN THE SLADE COLLECTION.] ‘The specimens of binding from the SLADE Collection (now placed in the Printed Book Department), continues the Report of 1869, are twenty-three in number, chiefly of foreign execution, and afford examples of the style of PADELOUP, DUSSEUIL, DEROME, and other eminent binders. One of the volumes, an edition of PAULUS ÆMYLIUS, _De gestis Francorum_ (Paris, 1555, 8vo), is a beautiful specimen of the French style of the period, with the sides and back richly ornamented in the Grolier manner. An Italian translation of the works of Horace (Venice, 1581, 4to), is of French execution, richly tooled, and bears the arms of HENRY III of France. A folio volume of the _Reformation der Stadt Nürnberg_ (Frankfort, 1566), which is a magnificent specimen of contemporary German binding, formerly belonged to the Emperor MAXIMILIAN THE SECOND, whose arms are painted on the elegantly goffered gilt edges. An edition of PTOLEMY’S _Geographicæ Narrationis libri octo_ (Lyons, 1541, fol.) affords a fine illustration of the Italian style of about that date. The copy of a French translation of XENOPHON’S _Cyropædia_, by Jacques de VINTEMILLE (Paris, 1547, 4to), appears to have been bound for King EDWARD VI, of England, whose arms and cypher are on the sides, while the rose is five times worked in gold on the back. [Sidenote: T. Watts, in _Returns_, as above.] A volume of Bishop HALL’S _Contemplations on the Old Testament_ (London, 1626, 8vo), in olive morocco contemporary English binding, has the Royal arms in the centre of the sides, and