In the collection of paintings, which has several of merit, is one with a history, which has a unique importance. This is B. R. Haydon’s “Public Entry of Christ into Jerusalem.” This picture of heroic size, and in the grand style which had a great vogue in its day, was finished in 1820, sold for £170 in 1831, and brought to Philadelphia, where it was exhibited. The exhibition did not pay expenses, and the picture was placed in the Academy as a companion piece to Benjamin West’s “Death on the Pale Horse.” In the fire of 1845 both canvases were rescued by being cut from the frames and dragged out like old blankets. It was finally given to the Cathedral in Cincinnati, where its existence was forgotten until it was discovered lately and loaned to the Museum. The interest in the picture now is mainly an accidental one, although it is a fine illustration of the large academic method, and in certain details is painted with the greatest care. Haydon’s studio was the resort of English authors of his day, and the portraits of several of them are introduced into this picture. The face of William Hazlitt does duty as St. Peter; Wordsworth and Sir Isaac Newton and Voltaire appear as spectators of the pageant—the cynical expression of Voltaire is the worldly contrast to the believing faith of the disciples—and the inspired face of the youthful St. John is that of John Keats. This being the only portrait of Keats in life, gives this picture extraordinary interest. The spirit of Cincinnati, that is, its concern for interests not altogether material, is also illustrated by its College of Music. This institution was opened in 1878. It was endowed by private subscription, the largest being $100,000 by Mr. R. R. Springer. It is financially very prosperous; its possessions in real estate, buildings—including a beautiful concert hall—and invested endowments amount to over $300,000. Its average attendance is about 550, and during the year 1887 it had about 650 different scholars. From tuition alone about $45,000 were received, and although the expenditures were liberal, the college had at the beginning of 1888 a handsome cash balance. The object of the college is the development of native talent, and to evoke this the best foreign teachers obtainable have been secured. In the departments of the voice, the piano, and the violin, American youth are said to show special proficiency, and the result of the experiment thus far is to strengthen the belief that out of our mixed nationality is to come most artistic development in music. Free admission is liberally given to pupils who have talent but not the means to cultivate it. Recognizing the value of broad culture in musical education, the managers have provided courses of instruction in English literature, lectures upon American authors, and for the critical study of Italian. The college proper has forty teachers, and as many rooms for instruction. Near it, and connected by