The principal object here is the cast of the Caryatid Portico of the Pandroseion, one of the portions of the complex structure generally called the Erechtheium, from the name of one of its parts dedicated to the worship of Erechtheus. The Portico with its Caryatids is given here of the full size of the original, and is so placed (until the great court can be built in which these large objects are to be shown) that a good view of it can be obtained from a considerable distance, while it is well lighted by a large window at one side. The remaining objects in this room are casts in great numbers from Greek and Roman architectural ornament, from the ornament of the Italian Renaissance, from the Alhambra, from the Gothic buildings of France, Germany and England, the specimens from England including twelve out of the thirty angels composing the so-called angel choir of Lincoln Cathedral. These figures of angels playing on musical instruments are of the thirteenth century, and are among the most beautiful works of their time. In this room again we find it impossible to do justice to our subject; the variety is too great and the range of artistic development covered by the example too extensive to be dismissed in less than an entire article, and even that would be insufficient. Turning to the right at the end of this room we come to THE ITALIAN RENAISSANCE, Where the works of Michelangelo, Donatello, Ghiberti, Luca della Robbia, and a few other such names meet us in some of their best works. Here is the Lorenzo of Michelangelo with the statues of Day and Night, the David of Donatello, the Cupid of Michelangelo with his unfinished bas-relief of the Virgin and Child, the Mercury of John of Bologna, and various bas-reliefs of the time with the singing boys of Donatello and those of Luca della Robbia. Here, too, is the cast of the trial plate, “The Sacrifice of Isaac,” made by Ghiberti in competition with Brunelleschi and Donatello for the Florence Baptistery Gates, interesting in itself, and in connection with that most important event in the history of modern art. The last room on this floor is filled with specimens of Greek, Roman, and Asia Minor pottery, with a sufficient number of examples of the sculpture, pottery, and glass of Cyprus, a small but well-chosen group of figurines from Tanagra, and the results of the late researches at Assos by the members of the American Society of Archæology. This room is full of interesting objects, but it is uncomfortably crowded and necessarily ill-arranged. In the next article we shall describe the contents of the second floor of the Museum. NATURAL HISTORY AND PEOPLE OF BORNEO. Report of a lecture delivered March 7th in the National Museum of Washington, D. C., by Mr. Wm. T. Hornaday, Chief Taxidermist of the Museum.